THE  SECRET 

— OF — 

Pictorial  Art, 

— OR — 

SELF-INSTRUCTOR 

—  IN  — 

PAINTING   ON   GLASS  CHINA,  SATIN, 
AND  PAPER. 


IT  TEACHES 

THE  OIL  PHOTO- MINIATURE,  GRECIAN  OIL,  ANTIQUE, 
ORIENTAL,  CRYSTAL  AND  PASTEL  PAINTINGS, 
CRYSTALLINE,   DECALCOM ANIE  AND 
DIAPH ANIE  TRANSFERRING. 


JBY  XD.  ID.  MORSE, 
CHICAGO,  ILL. 


Entered  according  to  the  Act  of  Congress,  in  the  Year 
of  Our  Lord,  1879,  by 
D.  D.  MORSE, 

In  the  Office  of  the  Librarian  of  Congress,  at  Wash- 
ington, D.  C. 


PREFATORY. 


IN  publishing  this  little  book,  it  is  not  with  a 
™  view  of  advertising  any  person  or  firm  at 
the  expense  of  the  purchaser  of  the  book,  but  to 
place  in  the  hands  of  young  men  and  women 
a  key  to  the  many  novel  methods  of  painting,  both 
modern  and  antique.  There  are  many  whose  taste 
turns  toward  painting  and  drawing,  who  would  un- 
doubtedly mark  high  on  the  rock  of  fame,  could  they 
have  the  advantages  of  time,  money  and  teachers, 
who,  we  hope,  will  appreciate  the  efforts  put  forth  in 
the  publication  of  the  "  Self-Instructor."  To 
young  women,  who  are  seeking  the  ornamental,  we 
present  this  "Secret"  as  an  invaluable  auxiliary 
in  the  decoration  of  your  homes  by  your  own 
hands,  u  which  would  be  a  much  better  and 
amusing  life  than  to  sit  with  folded  hands  only 
to  admire  the  works  of  others."  To  you,  and  tc 
all  lovers  of  the  useful  and  beautiful  in  life,  these 
pages  are  respectfully  dedicated. 

Publisher. 


4 


THE  SECRET  OF 


fj'o  the  ptilflf^ 


TjllAVING  been  for  several  years  engaged  in 
™  the  publishing  business,  I  can  furnish  to 
order,  Lithographs  or  Wood  Engravings,  make 
Drawings  of  Hotels,  Manufactories,  Private  Resi- 
dences, Public  Buildings,  etc.,  Sketches  from  Nature, 
Farm  Scenes,  Bird's-Eye  Views  of  Towns,  Cities, 
etc.,  etc.  Have  a  number  of  Scenes  and  Litho- 
graphic Views  of  Towns  ana  Cities  in  the  far- 
farmed  Valleys  of  Kansas,  the  Tunny  Plains  of 
Texas,  an  I  Mountain  Range  of  Colorado,  which  can 
be  had  by  addressing  the  publisher. 

P.  D.  MORSE,  Chicago,  111. 


PICTORIAL  ART. 


5 


COLORS  IN  NATURE. 


tELLOW-GREEN  is  the  color  nature  assumes 
at  the  falling  of  the  leaf,  and  this  was  worn  in 
the  days  of  chivalry  ;  the  emblem  of  despair.  Red 
indicates  anger,  and  sometimes  guilt.  Green  denotes 
tranquility  and  melancholy.  In  heraldry  it  is  used 
to  express  liberty,  love,  youth  and  beauty ;  and  at 
one  time  all  letters  of  grace  were  signed  with  green. 
The  cypress  is  acknowledged  as  the  emblem  of 
mourning  ;  the  myrtle  of  love  ;  the  aloe,  of  con- 
stancy ;  the  violet,  of  modesty  ;  the  tulip,  of  vanity  ; 
the  mulberry,  ot  prudence  ;  the  lily  of  the  valley, 
of  innocence  ;  the  rose,  of  beauty  ;  the  fuchia,  of 
magnificence  ;  and  the  palm  and  laurel,  of  honor 
and  victory  ;  the  oak,  of  strength  ;  the  olive,  of 
peace  ;  and  the  willow,  of  sorrow. 


6 


THE  SECRET  OF 


OR 


SUN  PICTURES. 


JJfHESE  transparencies,  or  window  pictures,  are 
of  late  very  much  used  and  admired.  They 
are  made  upon  glass,  perfectly  transparent,  and  re- 
quire a  good  light  to  see  them.  The  way  these 
pictures  are  produced  is  simple,  and  the  pro- 
cess easy  to  learn  by  man,  woman  or  child,  and  in 
it  lies  the  secret  or  fundamental  principles  of  all 
glass  pictures. 

;*t  ttct 


Procure  a  fine,  clear,  French  plate  glass,  size  re- 
quired, to  receive  the  picture,  and  make  it  perfectly 
clean  with  alcohol.  Select  the  picture  you  may  de- 
sire from  the  list  of  fine  steel  engravings  contained 
in  magazines,  etc.  Go  over  the  face  with  a  damp 
sponge,  in  order  to  remove  the  dust  or  spots  that 
may  have  accumulated  upon  it,  and  smoothing  it 
out.  Apply  to  the  face  of  the  print,  with  a  brush, 
a  paste  made  from  amylum,  a  teaspoonful,  and  ni- 
trate strontium,  y%  ounce, —sometimes  albumen  is 


PICTORIAL  ART. 


1 


used,—  now  go  over  the  glass  in  the  same  way, 
evenly  and  smoothly.  When  this  is  done,  lay  the 
picture,  face  down,  upon  the  glass,  and  press  with 
dry  cloth  until  every  part  of  the  picture  has  ad- 
hered to  the  glass,  and  all  the  air  bubbles  pressed  out. 
Lay  away  the  glass  a  few  hours  until  perfectly  dry, 
when  you  wet  the  paper  and  commence  rubbing  it 
off ;  if  it  works  well  without  any  further  wetting, 
continue  the  process  until  every  vestige  of  paper 
has  been  removed,  and  nothing  left  upon  the  glass 
but  the  outlines  of  your  engraving.  Oil  it  now  with 
castor  oil  three  parts,  oil  of  lavender  one  ;  if  too 
thick,  add  turpentine.  It  is  now  complete,  and  by 
holding  it  to  the  light  it  will  present  a  beautiful, 
steel-like  engraving  transparency. 

You  can  add  a  border  if  you  like,  by  pasting 
around  the  margin  a  tinted  paper. 


8 


THE  SECRET  OF 


pen  ami  |jfttc(il  Rawing 

(by  aid  of  the  transfer  process.) 


QJrHE  art  of  transferring  pictures  from  one  paper 
to  another  is  what  few  understand.  Many 
have  drawings  or  engravings  which  they  hold  as 
valuable  keepsakes,  and  wish  to  pre.  erve  copies. 
The  plan  of  duplicating  almost  exactly  a  pictuie  by 
the  method  given  here,  is  original  with  the  au- 
thor of  this  book,  who  has  many  a  time  found  it 
valuable  in  getting  perfect  the  outlines  of  engrav- 
ings, prints  and  pictures  of  various  kinds  for  pen  or 
crayon  drawings,  and  has  taught  the  secret  to 
some  who  have  made  money  out  of  it,  both  by  its 
use  in  getting  copies  of  other  work,  or  in  teaching 
it  to  their  friends,  for  which  they  were  well  paid. 
Penmen  are  producing  some  very  fine  specimens  of 
pen  drawings  aided  by  the  above  process  of  copying  ; 
and  although  many  a  novice  in  the  art  of  pen  draw- 
ing exhibits  equally  as  good  designs  as  older  pro- 
fessionals, they  are,  nevertheless,  borrowed,  or  we 
may  say,  in  many  cases,  stolen. 

The  paper  used  for  transferring  purpose  is  light 
tea  paper,  generally  found  in  a  tea  store,  or  on  sale 
at  paper  stores.    We  prepare  it  as  follows  :  . 


PICTORIAL  ART. 


9 


Procure  a  piece  of  soft  pine  or  cedar,  and  burn  to 
a  coal ;  paste  one  side  of  the  tea  paper  with  it  until 
quite  black,  and  you  have  a  neat  transfer  sheet.  (In 
choosing  the  wood  be  sure  and  get  soft  white  pine). 
Lay  this  black  paper  upon  the  white,  where  you 
wish  the  drawing  to  be  made,  the  dark  side  down ; 
upon  this  lay  the  copy,  face  up,  and  fasten  the 
whole  to  the  table  with  thumb  tacks,  to  prevent  its 
moving  around  and  changing  the  outlines.  This 
done,  go  over  the  whole  with  a  tracer  made  of  wood 
or  ivory,  with  sufficient  pressure  to  carry  the  lines 
through  to  the  paper  underneath,  following  every 
outline  of  the  picture  until  the  whole  has  been  gone 
over.  Lift  the  tracing  paper,  and  you  have  upon 
the  sheet  below,  the  desired  drawing,  which  you  now 
go  over  with  pen  or  pencil.  After  this  is  done, 
rub  the  crayon  from  off  the  picture  with  your  hand- 
kerchief; and  complete  the  shading  with  a  fine- 
pointed  steel  pen  or  pencil,  keeping  the  copy  before 
you.  Use  Spencerian  Artistic  Pen,  Crow-quill  or 
Gillott's  No.  170. 


io 


THE  SECRET  OF 


THE  PENTOGRAPH. 


The  Use  of  the  Pentograph  in  Draw- 
ing and  Enlarging  Pictures. 


PI  1 5  is  an  instrument  in  four  sections,  so  ar- 


ranged  that  you  can  enlarge  or  diminish  in 
size,  and  copy  a  photograph,  engraving  or  any  kind 
of  picture.  It  contains  a  screw  to  fasten  it  to  the 
table,  a  small  steel  needle  to  guide  in  the  outlining, 
and  a  lead  pencil  to*do  the  drawing. 


Screw  the  Pentograph  to  the  table,  with  the  nee- 
dle point  to  your  left,  upon  the  photograph,  (which 
is  fastened  to  the  table,  also),  holding  the  end  con- 
taining the  pencil  with  the  fingers,  to  the  right. 
With  your  eye  on  the  photo,  move  the  hand  so  that 
the  needle  follows  the  outlines  of  the  copy,  and  the 
pencil  is  producing  the  same  on  your  drawing  paper 
at  the  right.  In  this  way  go  over  the  entire  picture 
until  you  have  a  complete  copy  of  the  same. 

You  may  now  shade  with  pen  or  crayon  to  suit 
the  wants  of  the  copy. 

The  small  screws  on  the  bars  near  the  figures  are 
used  in  adjusting  it  to  suit  the  size  of  picture 
required. 


HOW   TO   USE  IT. 


PICTORIAL  ART. 


II 


ANOTHER  PROCESS  OF 
COPYING. 


NOTHER  method  of  transferring  pictures  to 


paper  is  by  the  use  of  a  transparent  paper, 
which  is  made  by  dissolving  castor  oil  in  absolute 
alcohol,  and  applying  the  liquid  to  the  paper  with  a 
brush  or  sponge.  The  paper  becomes  dry  as  soon 
as  the  alcohol  evaporates,  which  is  almost  instantly. 
After  which  lay  the  paper  on  the  picture  you  are 
about  to  copy,  and  with  a  pencil  follow  the  outlines 
of  the  picture  until  you  have  gone  over  the  whole. 
As  soon  as  done  immerse  the  paper  in  alcohol, 
which  will  remove  the  oil  and  restore  the  paper 
back  to  its  natural  state. 


12 


THE  SECRET  OF 


INSTRUCTIONS 

FOR  THE 

OIL-PHOTO  MINIATURE 

CALLED  BY  SOME 


F  the  photograph  yon  desire  to  color  is  mounted 
on  a  card,  first  immerse  it  in  boiling  hot  vvater. 
This  will  soften  the  paste,  and  in  a  short  time  the 
print  may  be  lifted  from  the  mount.  Do  not  hurry, 
but  give  the  print  a  thorough  soaking  before  trying 
to  lift  it  from  the  card,  and  always  use  great  care  to 
avoid  tearing  the  photograph.  Rinse  the  picture 
in  cold  water  to  clean  it  from  the  paste  and  color- 
ing matter  that  may  adhere  to  it  from  the  mount. 
Let  it  remain  in  the  vessel  of  clear  water  until  ready 
for  mounting  it  on  the  glass.  Prepare  a  little  thin 
starch  paste,  as  follows  :  Amylum  (Refined  Corn 
Starch,)  a  teaspoonful,  cold  water  2  ounces,  or 
nitrate  strontium  y$  ounce  ;  stir  till  dissolved,  then 
bring  it  to  a  boil,  stirring  constantly. 

Have  the  starch  paste  thin,  and  strain  it  through 
fine  muslin.  Having  cleaned  your  Convex  Glass 
thoroughly,  take  the  photograph  and  blot  off  the 


PICTORIAL  ART. 


13 


surplus  water.  Paste  the  face  of  the  print  and  the 
concave  or  hollow  side  of  the  cleaned  glass  with 
your  starch,  being  very  careful  to  cover  both  the 
print  and  glass  smoothly.  A  wide  bristle  brush  is 
most  suitable  for  this  work.  Lay  the  print  on  the 
glass,  the  prepared  surfaces  together,  and  proceed 
carefully  to  work  the  bubbles  out  with  your  fing- 
ers, after  which  lay  two  or  three  thicknesses  of  some 
soft,  tough  paper  on  the  print,  and  with  an  ivory 
paper-knife,  or  flat  stick,  with  curve  about  the  same 
as  the  concave  surface  of  the  glass,  work  the  print 
down  to  the  glass,  forcing  out  all  the  air.  Work  from 
the  centre  of  the  glass  toward  the  edges,  and  with 
great  care,  using  very  light  pressure  to  avoid  break- 
ing the  glass.  The  mounting  of  the  print  should 
be  done  quickly,  as  the  paste  dries  very  fast  After 
mounting  the  picture  on  the  glass  allow  it  to  dry 
thoroughly.  Now  fill  the  concave  or  hollow  side 
of  the  glass  having  the  picture  on,  with  Caster  Oil 
alone,  or  use  Castor  Oil  three  parts  Glycerine  one 
part,  or  Oil  Lavender  one  part.  Allow  the  oil  t^ 
remain  until  the  photograph  is  transparent  ;  this 
will  take  from  three  to  twelve  hours.  When  per- 
fectly transparent  pour  off  the  oil  and  wipe  with  a 
fine  sponge  until  nearly  dry.  Your  picture  is  now 
ready  for  painting. 

The  colors  applied  directly  to  the  photograph  are 
those  parts  that  need  no  blending— such  as  the 
eyes,  lips,  jewelry,  light  ribbons,  flower  ornaments 
and  neck-tie.  Edges  of  ruffles  and  embroidery 
should  also  be  touched  up  on  the  photograph. 


14 


THE  SECRET  OF 


Another  convex  glass  is  fitted  to  the  back  of  the  one 
having  the  print,  and  wedged  apart  from  it  by  at- 
taching little  pieces  of  card  board  to  the  second 
glass  with  mucilage. 

Have  the  wedges  very  narrow  and  close  to  the 
edge.  This  separates  the  glasses  and  keeps  the  up- 
per one  from  pressing  the  oiled  and  painted  glass 
below.  On  this  second  glass  you  will  color  the 
face  and  other  flesh,  hair,  drapery,  and,  if  accessary, 
the  background.  The  beauty  of  the  miniature  is 
enhanced  by  using  some  colored  card-board  to  back 
up  the  picture  —a  red,  blue,  white  or  green  being 
very  effective. 

Your  Miniature  is  completed  by  binding  the 
edges  of  the  glass  and  card-board  together  with 
strips  of  adhesive  paper. 

Caution!  Don't  use  Silver  Gloss  Starch,  it  will 
not  do  nearly  as  well  as  Amylum. 

The  coloring  of  the  eyes,  lips,  jewelry,  ribbons, 
edges  of  embroidery,  lace,  neck-tie  flowers,  or  other 
ornaments,  is  applied  directly  on  the  photograph 
after  it  is  mounted  on  the  glass  and  made  trans- 
lucent with  the  oil. 

EYES— Use  small  brush.  Blue  Eyes— Use 
Prussian  Blue  mixed  with  little  Ivory  Black. 
Brown  Eyes— Use  Vandyke  Brown.  Gray  or 
Hazel  Eyes— Prussian  Blue  mixed  with  Vandyke 
Brown  and  Silver  White. 


PICTORIAL  ART. 


15 


LIPS. — Use  Rose  Madder.  For  Jewelry — Yel- 
low Ochre  for  Gold,  Silver  White  for  Pearls,  Em- 
erald Green  for  Emeralds,  Rose  Madder  for  Rubies. 

RIBBONS. — Whatever  color  is  required.  Flow- 
ers and  other  ornaments  the  same. 

The  color  for  Flesh,  Hair,  Drapery  and  Back- 
ground is  applied  to  the  concave  surface  of  the  clear 
glass  which  is  placed  over  the  mounted  print. 

FLESH.— Use  Vermillion,  Silver  White  and 
Chrome  Yellow  ;  mix  to  suit.  For  children  use 
Rose  Madder  or  Carmine  in  place  of  Vermillion. 
For  dark  complexions  dull  the  color  by  adding 
Vandyke  Brown. 

HAIR. — For  blonde  hair,  use  half  Naples  Yel- 
low and  Vandyke  Brown.  For  lights,  use  Naples 
Yellow.  Brown  Hair,  Vandyke  Brown.  Black 
Hair,  Ivory  Black  and  Silver  White  adding  a  little 
Prussian  Blue.  For  Gray  Hair,  use  Silver  White, 
Naples  Yellow,  Black,  Burnt  Sienna  and  a  little 
Prussian  Blue. 

DRAPERY.— Whatever  color  suits. 

BACKGROUND  —Your  own  judgment  will 
suggest  the  proper  color  to  use. 

If  you  want  to  change  the  work  in  any  way,  take 
a  small  piece  of  cloth,  dipped  in  turpentine,  and  re- 
move the  color. 

For  home  work  and  adornment  it  offers  special 
attractions.  The  photographs  of  relatives  and 
friends  can  be  made  into  Oil  Photo-Miniatures,  done 
by  your  own  hands,  and  handsomely  furnished  for 
the  mantle  and  wall  at  small  expense. 


l6  THE  SECRET  OF 


We  have  given  you  the  simplest  and  best  process 
for  making  the  picture.  It  is  claimed  by  some  that 
when  the  oil  is  used  it  dries  out  after  a  time,  and 
produces  opaque  spots.  Should  this  trouble  appear 
it  is  easily  overcome  by  reoiling  the  picture.  We 
will  give  you  other  methods  in  use  and  you  can 
adopt  whatever  you  see  fit. 

For  Mounting  the  Photograph. — Ising-glass 
(fish  glue)  made  in  the  following  proportion  :  One 
teaspoonful  to  half  cup  of  water,  dissolved  by  boil- 
ing ;  strain  through  fine  muslin,  and  apply  the 
same  as  starch.  Pure  Albumen  or  white  of  egg, 
brushed  over  the  glass  and  surface  of  the  photo- 
graph is  used  with  great  success  by  some.  Equal 
parts  Canada  balsam  and  turpentine  is  also  used  for 
attaching  the  print  to  the  glass.  Rubber  Varnish — 
Made  with  pure  rubber,  dissolved  in  benzole.  Some 
add  a  little  Cooper's  glue  to  the  starch  when  mak- 
ing it.    Dextrine  is  a  favorite  with  many 

After  the  use  of  the  Castor  Oil,  Castor  Oil  and 
Glycerine,  Poppy  Oil,  Nut  or  any  of  the  oils,  the 
print  may  be  covered  with  a  coating  of  Dammar 
Varnish,  which  it  is  claimed  holds  the  oil  and  pre- 
serves the  transparency.  Many  artists  after  oiling 
or  varnishing,  use  water  colors  mixed  with  Ox-gall 
in  coloring  on  the  back  of  the  print,  then  follow 
with  the  oil  colors  as  directed  In  adopting  any  of 
the  methods  herein  noted,  your  judgment  will  dic- 
tate care  in  observing  the  results,  and  suggesting 
changes  that  may  facilitate  the  work  and  success  of 
the  picture.    You  will  find  the  work  very  attrac- 


PICTORIAL  ART. 


17 


tive,  simple  and  productive  of  both  pleasure  and 
profit. 

Ladies  and  gentlemen  are  traveling,  teaching  the 
process,  and  getting  handsome  returns. 

Ladies  are  occupying  leisure  hours  and  making 
home  attractive  with  their  artistic  work  in  pro- 
ducing the  Miniature. 


(2) 


l8  THE  SECRET  OF 


C»jijsial  fainting, 


T|p  A  Y  your  glass  over  the  pattern  or  copy  you  wish 
•*7  to  paint  from,  such  as  flowers,  birds,  wreaths, 
etc.,  then,  with  a  fine  pencil  brush,  or  a  common 
writing  pen,  trace  all  the  outlines  of  your  pattern 
as  well  as  possible  on  the  glass,  using  for  that 
purpose  black  paint  made  from  Lampblack  and 
Copal  Varnish  ;  if  too  thick,  add  a  little  tur- 
pentine. When  this  is  done,  paint  all  the  glass 
outside  the  picture,  or  that  part  not  occupied  by 
your  drawing,  with  the  black  paint,  same  as  used  in 
making  the  outlines,  only  a  trifle  thicker.  This  will 
give  your  picture  a  neat  back-ground  ;  other  colors 
can  be  used,  but  this  gives  the  best  body,  and  is  the 
most  appropriate,  contrasting  well  with  the  other 
colors  to  be  used  in  the  picture. 

Let  it  lay  until  well  dried,  so  the  black  will  not 
unite  with  the  colors  you  are  about  to  use  Now, 
with  the  glass  still  remaining  over  the  copy,  you  may 
commence  applying  the  paints,  if  the  tracing 
lines  are  dry.  If  you  are  painting  a  red  rose, 
use  Carmine,  Flake  White,  Prussian  Blue  and 
Chrome  Yellow  for  the  leaf,  etc.,  using  a 
small  camel-hair  brush.  Continue  in  this  way 
until  you  have  used  all  the  colors  which  ap- 


PICTORIAL  ART. 


19 


pear  in  your  copy  or  picture  underneath,  which 
remains  there  to  guide  you,  and  the  pen 
lines  upon  the  glass  to  separate  the  colors. 
When  the  first  color  is  perfectly  dry,  apply  the  sec- 
ond, and  so  on  until  you  have  completed  all  the 
work  which  the  copy  demands,  using  your  own 
judgment  in  the  matter,  and  applying  them  as  they 
appear  in  the  picture  you  are  working  from. 

When  the  painting  is  done  and  dry,  cover  the 
back  of  the  transparency  with  copper  or  tin-foil 
crinkled,  which  gives  it  a  sparkling,  crystal-like  ap- 
pearance. It  is  now  ready  for  frarning.  In  placing 
it  in  the  frame  be  careful  and  not  press  the  back- 
board too  close  on  to  the  foil,  or  it  will  destroy  the 
brilliant  effect  in  the  picture. 

The  colors  used  in  this  kind  of  painting  must  be 
transparent  oil  colors,  with  the  exception  of  the 
background. 

For  White,  use  Ground  Silver  or  Flake  White ; 
for  Blue,  Prussian  Blue  ;  for  Pink,  mix  Scarlet 
Lake  and  Silver  White ;  Orange,  mix  Chrome 
Yellow  and  Scarlet  Lake;  for' Red,  use  Scarlet 
Lake,  Crimson  Lake,  or  Carmine  ;  for  Green,  mix 
Prussian  Blue  and  Yellow  Lake  ;  for  Purple,  mix 
Red  and  Blue.  Use  the  best  tube  paints  and 
camel-hair  brushes. 


20 


THE  SECRET  OF 


ANTIQUE  PAINTING. 


LL  honor  to  the  worthy  sire  who  produced  the 
first  pictures  upon  glass,  paper  or  can- 
vas with  oil;  and,  although  those  pictures 
have  passed  from  sight  of  the  present  gen- 
eration, we  live  to  enjoy  the  knowledge  given 
to  us  through  history,  that  many  a  fine  artist 
did  live  long  enough  to  give  to  the  world  the  high- 
est productions  of  his  artistic  hand;  and,  although 
passed  to  "  that  bourne  from  whence  no  traveler  re- 
turns," his  teachings  are  still  practiced  among  men. 
And  no  man,  however  original  he  may  be,  can  to- 
day sit  down  and  paint  the  form  or  ornament  of  a 
house,  but  that  it  will  be  the  development  or  degra- 
dation of  forms  practiced  by  the  artists  of  early 
days.  The  style  of  painting,  which  is  given  below, 
is  somewhat  ancient,  but  very  ornamental  and  use- 
ful; and,  although  to  an  extent,  it  passed  from  ex- 
istence years  ago,  the  lovers  of  decorative  art 
have  again  revived  it  in  the  East,  and  it  is  now  be- 
ing sought  after  and  practiced  by  thousands  on  ac- 
count of  its  being  cheap  and  easy  to  attain.  This 
plan  of  transferring  the  engraving  from  paper  to 
glass,  and  discarding  the  paper  wholly,  is  simply 
wonderful.    We  give  it  below  : 

Procure  a  fine  quality  of  French  glass,  make  per- 


PICTORIAL  ART. 


21 


fectly  clean  with  alcohol ;  then  apply,  with  a  stiff 
brush,  a  coat  of  Dammar  Varnish;  after  drying  about 
an  hour,  apply  another  coat,  evenly  and  smoothly  ; 
this  allow  to  dry  about  ten  minutes,  or  just  long 
enough  to  make  it  sticky.  Procure  an  uncolored 
engraving  that  you  may  desire  to  see  painted,  and 
trim  off  all  the  paper  not  connected  with  the  pic- 
ture. Dampen  it  with  a  sponge  or  wet  cloth,  and 
while  yet  damp  place  the  engraving  on  the  glass 
with  the  face  to  the  varnish,  rubbing  with  your  dry 
hand  or  cloth  until  every  part  adheres  to  the  sur- 
face and  all  air  has  been  removed,  rubbing  from  the 
centre. 

Lay  this  away  a  few  hours  until  it  is  perfectly  dry, 
then  dampen  the  picture  again,  and  commence  rub- 
bing therefrom  the  paper  ;  continue  this  until  you 
have  removed  every  vestige  of  the  same,  nothing 
remaining  upon  the  glass  but  the  face  of  the  en- 
graving. Now  apply  a  coat  of  boiled  oil ;  let  it  dry 
fifteen  or  twenty  minutes,  and  apply  another,  or  a 
coat  of  varnish,  evenly  and  smoothly ;  after  laying 
an  hour  or  two  it  is  ready  to  receive  the  paint.  As 
the  paper  has  been  all  removed  the  colors  will  strike 
through  readily.  Arrange  the  glass  to  the  light  in 
such  a  manner  that  you  may  see  through  it,  and  ap- 
ply the  colors  to  the  engraving  on  the  back  as  in 
the  Grecian  oil.  The  outlines  and  shades  are  al- 
ready produced  by  the  engraving,  and  all  that  is 
necessary  now  is  to  place  the  colors  where  they  be- 
long, which,  with  a  little  practice,  can  soon  ba 
acquired. 


tHE  SECREt  OP 


The  paints  used  are — Yellow  Lake,  Yellow  Ochre, 
Chrome  Yellow,  Chrome  Green,  Prussian  Blue, 
Burnt  Sienna,  Vandyke  Brown,  Tvory  Black,  Ver- 
digris Green,  Silver  White,  mixed  with  Dammar 
Varnish.     Use  blushes  as  in  Grecian  Oil. 


ffCTORIAL  AR?. 


23 


GRECIAN  OIL  PAINTING. 


HE  Grecian  oil  paintings  are  made  from  firsts 
class  steel  engravings.  There  is  but  little  of 
it  done  in  this  country  ;  and,  although  there  was 
quite  an  interest  manifested  in  it  here  a  few  years 
ago,  it  did  not  live  long,  and  this  is  the  first 
time  I  have  seen  the  instructions  in  print  since  or 
before. 

We  select  the  engraving  most  desired  to  hang 
upon  our  walls,  (regardless  of  size),  and  place  it  upon 
a  frame  or  stretcher  with  small  tacks  or  glue;  this 
prepares  it  for  the  work.  When  ready,  commence 
by  sponging  it  with  clean  water  ;  when  dry,  saturate 
it  well  with  turpentine  applied  with  a  large-sized 
paint  brush  ;  when  this  is  done,  apply  Grecian  var- 
nish in  the  same  way,  spreading  it  smoothly  and 
evenly  over  the  surface  until  all  the  dry  spots  in  the 
paper  have  entirely  disappeared.  The  application 
may  be  made  on  either  side  of  the  picture.  When 
done,  let  it  lay  level  (with  the  face  down),  twenty- 
four  hours,  and  it  will  then  do  to  paint,  if  free  from 
spots  and  perfectly  transparent.  When  you  com- 
mence upon  the  back  to  paint,  follow  the  lines 
with  those  colors  necessary  to  make  it  look  natural ; 
the  shading  being  made  by  the  engraving,  nothing 
is  necessary  but  to  apply  the  colors  required.  Suit 
your  taste  in  choosing-    those  colors.     Mix  the 


24 


THE  SECRET  OF 


paints  with  varnish  made  from  balsam  fir,  three 
parts  ;  alcohol,  two  parts  ;  and  spirits  turpentine, 
one  part;  or  use  tube  paints,  which  are  already 
prepared. 

In  painting  the  figure  of  a  person,  if  the  eyes  are 
blue,  mix  Prussian  blue  and  white  ;  for  dark  eyes 
or  hair,  Vandyke  brown  works  with  good  effect  ; 
for  flesh  color,  mix  red,  white  and  a  little  yellow, 
adding  a  little  more  red  for  lips  or  cheeks.  You 
may  suit  your  own  taste  in  regard  to  the  color  for 
background,  but  I  will  suggest  equal  parts  of  blue^ 
red,  green  and  Vandyke  brown,  covering  all  that 
part  which  is  not  connected  with  the  object  you 
have  painted.  Don't  apply  a  second  color  until  the 
first  is  perfectly  dry.  When  done,  give  the  face  a 
coat  of  varnish. 

The  colors  suitable  for  this  painting  are — Chrome 
Yellow,  Yellow  Lake,  Emerald  Green,  Carmine, 
Prussian  Blue,  Burnt  Sienna,  Raw  Sienna,  Van- 
dyke Brown,  Ivory  Black  and  Silver  Lake. 

The  brushes  required  are — one  large  varnish 
brush,  with  two  or  three  small  to  medium-sized 
camel  or  sable  hair  paint  brushes. 


PICTORIAL  ART. 


25 


ORIENTAL  PAINTING. 


HIS  art  maybe  applied  to  numberless  purposes; 
among  which  are  making  signs  of  every  descrip- 
tion, numbers  of  dwellings,  door-plates,  ornamental 
borders  for  pictures,  ornamenting  work-boxes,  etc., 
etc  ,  which  are  made  at  a  trifling  expense,  and  un- 
surpassed for  brilliancy. 

First.  Clean  well  the  glass  to  be  used  with 
alcohol.  2d.  Wet  with  your  tongue  the  side 
cleaned,  and  immediately  lay  over  the  whole  of  that 
side  a  coat  of  gold  or  silver  leaf.  3d.  Let  this  dry 
on— it  will  take  from  two  to  four  minutes  4th 
When  the  leaf  has  dried  on  the  glass  polish  it  with 
a  ball  of  cotton.  (Some  of  the  leaf  may  possibly 
be  rubbed  off  by  the  polishing,  but  this  is  of  no 
consequence.)  5th.  After  polishing,  wet  again  with 
your  tongue  the  whole  side  you  have  polished,  and 
lay  another  coating  of  leaf  over  it.  Let  this  dry. 
6th.  After  the  second  coat  of  leaf  is  dry,  polish  it 
as  before,  with  the  ball  of  cotton,  and  then  your 
sign  or  door  plate  will  be  ready  for  lettering. 

As  a  border  will  add  much  to  the  appearance  of 
the  plate,  I  will  now  instruct  you  how  to  make  one. 
Rule  with  the  point  of  a  needle  two  lines  around 
the  edge  of  the  plate,  the  outside  line  one  quarter 
of  an  inch  from  the  edge. 


26 


THE  SECRET  OF 


After  the  lines  have  been  ruled,  wet  your  pencil 
brush,  and  with  it  moisten  the  leaf  lying  outside  of 
the  space  between  the  lines  you  have  ruled,  and  re- 
move with  the  brush  the  leaf  thus  moistened,  work- 
ing gently  from  the  lines.  Your  border  is  now 
made.  Your  next  step  is  to  put  the  lettering  on 
the  glass.  To  do  this,  first  measure  the  height  of 
your  letters,  then  rule  with  the  needle  two  lines  as 
far  apart  as  the  letters  are  high.  When  this  is  done, 
lay  the  letters  on  the  leaf,  one  at  a  time,  beginning 
at  the  right  hand,  and  placing  the  back  of  the  let- 
ters up,  or  backwards.  Hold  the  letters  on  firmly 
with  your  left  hand  and  with  your  right,  mark 
around  them  with  a  needle  When  you  have 
marked  around  all  the  letters  in  this  way,  wet  with 
your  tongue  the  pencil-brush,  and  apply  it  to  all  the 
leaf  on  the  glass,  except  what  is  needed  for  the  let- 
ters and  border  ;  then  remove  the  leaf  thus  wet  by 
rubbing  it  gently  with  the  brush. 

The  next  process  is  to  apply  the  Japan.  Do  this 
with  a  small  paint  brush,  and  cover  the  whole  of 
the  side  which  has  been  covered  with  the  silver  leaf. 
It  will  require  two  coats,  and  after  these  are  dry 
you  have  an  elegant  plate. 

All  that  now  remains  to  be  done  is  to  place  the 
plate  in  a  frame ;  to  do  this  apply  a  little  putty  to 
the  edge  of  the  glass,  and  set  it  in  the  frame  ;  then 
lay  upon  the  back  a  piece  of  paper  of  the  same  size, 
and  over  that  a  piece  of  tin,  and  fill  up  the  remain- 
ing space  with  plaster  of  Paris.  Your  door  plate 
is  now  complete. 


PICTORIAL  ART. 


27 


To  ornament  glass  work-boxes,  flowering,  etc., 
proceed  as  above. 


A  small  camel  hair  pencil  brush,  cost  three  cents  ; 
blue  or  black  enamel,  or  Japan,  per  gill,  25  cents; 
selected  silver  leaf,  per  book  (24  sheets)  24  cents  ; 
patterns  for  letters,  per  set,  37}^  cents  ;  patterns  for 
numbers,  per  set,  25  cents. 

[Note. —A  gill  of  Japan  will  answer  for  fifty 
signs.  A  book  of  silver  leaf  will  answer  for  six  or 
eight  door  plates.] 


3UttfU0  ttactr. 


28 


THE  SECRET  OF 


STAINING  WOOD  #  IVORY. 


JtJELLOW. — Diluted  nitric  acid  will  produce  a 
fine  yellow  on  wood  ;  sometimes  it  produces  a 
brown,  and  if  used  strong,  it  will  be  nearly  black. 

Mahogany  Color. — Is  produced  by  a  mixture 
of  madder,  Brazil  wood,  and  logwood  dissolved  in 
water,  and  put  on  hot.  The  proportions  must  be 
varied  by  the  artist  according  to  the  tint  required. 

Black. — Brush  the  wood  several  times  over  with 
a  hot  decoction  of  logwood,  and  then  with  an  iron 
lacquer ;  or,  if  this  cannot  be  had,  a  strong  solu- 
tion of  nut-galls. 

Red.— May  be  made  by  a  solution  of  dragon's 
blood  in  spirits  of  wine.  This  stain  is  to  be  laid 
on  the  wood  boiling  hot,  and  before  it  dries  it 
should  be  laid  over  with  alum  water. 

Blue. — Ivory  may  be  stained  blue  thus:  Soak 
the  ivory  in  a  solution  of  verdigris  and  nitric  acid, 
which  will  make  it  green,  and  then  dip  it  into  a  so- 
lution of  pearlash  boiling  hot  and  it  will  turn  blue. 

To  stain  Ivory,  black,  the  same  process  as  for 
wood  may  be  employed. 

Purple  may  be  produced  by  soaking  the  ivory  in 
a  solution  of  salamoniac  and  four  times  its  weight 
of  nitrous  acid. 


PICTORIAL  ART. 


29 


EMBOSSED  PICTURES. 

FOR  DECORATING. 


H  E  S  E  are  beautiful  pictures,  representing 
Chromo-Lithographs ;  they  are  embossed  in 
sheets  and  cut  out  by  machinery ;  the  sheets  vary- 
ing from  two  to  six  inches  square,  each  sheet  con- 
taining from  one  to  one  hundred  and  thirty-two 
pictures. 

For  ornamenting  autograph  albums,  scrap-books, 
fancy  boxes,  love  letters,  picture  frames,  pottery- 
ware,  etc.,  there  are  the  Japanese  and  China  figures, 
autumn  leaves,  Grecian  and  Egyptian  heads,  Birds 
of  Paradise,  Soldiers,  National  figures  in  bronze, 
Butterflies,  Angels  with  Wings,  Roses,  Fruits  and 
Flowers,  Buildings,  Landscapes,  etc.,  etc.,  besides 
ten  thousand  other  choice  selections  which  can  be 
furnished  to  you  by  mail,  at  Catalogue  prices. 


30 


THE  SECRET  OF 


DIAPHANIE. 


HE  Diaphanie  prints  for  transferring  to  glass  are 
very  similar  to  the  Decalcomanies ;  they  are 
colored  lithographs  arranged  on  paper  for  trans- 
fering  to  glass  to  represent  stained  glass,  and  is 
equally  as  pretty  and  not  so  expensive.  By  this 
plan  you  may  ornament  your  church  windows, 
lamp  shades,  glass  work  boxes,  or  wherever  stained 
glass  is  employed. 

The  materials  required  are  a  bottle  of  Fixatif  for 
fastening  it  to  the  glass,  one  or  two  medium  sized 
brushes,  a  bottle  of  transparent  varnish,  a  plate  of 
glass  and  your  design. 

tfrlje  3l))pltratt0it 

is  as  follows :  Lay  on  a  coat  of  the  Fixatif  to  the 
face  of  the  design  and  place  it  upon  the  glass,  press- 
ing it  closely  and  evenly  that  it  may  adhere  per- 
fectly to  the  entire  surface  of  the  glass.  In  order 
to  do  this  it  may  be  well  to  lay  over  the  design  a 
piece  of  heavy  damp  paper,  and  then  roll  it  to  the 
glass  with  a  small  roller  used  for  that  purpose; 
when  this  is  done,  and  it  is  dry,  apply  a  coat  of 
transparent  varnish  with  a  flat  camel  hair  brush. 


PICTORIAL  ART. 


31 


DECALCOMANIES. 


HIS  is  a  new  and  beautiful  plan  of  transferring 
pictures  to  China,  Ivory,  Silk,  etc. 


The  Decalcomanie  in  the.  first  place  is  a  colored 
print  upon  paper,  which  you  can  purchase  at  art 
stores  or  regular  dealers,  the  cost  ranging  from  ten 
cents  to  two  dollars  per  sheet. 

The  Materials  required  for  doing  this  work 
are,  a  bottle  of  Fixatif  (made  from  Dammar  varnish, 
balsam  fir,  and  turpentine),  a  wide  blade  knife, 
sponge  and  camel  hair  brush.  Take,  if  you  please, 
an  earthern  or  China  plate,  or  any  other  article  of 
smooth  surface  you  like  ;  select  from  your  list  of 
decalcomanies  a  flower,  bird,  landscape,  or  any  de- 
sired picture ;  cut  and  trim  to  proper  shape  and 
size ;  cover  the  face  of  it  with  the  varnish  and  lay 
it  on  the  plate,  pressing  smoothly  and  evenly  with 
the  knife-blade  until  it  adheres  lo,  and  is  perfectly 
dry ;  after  laying  a  few  minutes,  wet  the  paper 
with  a  sponge,  and  remove  it  with  the  point 
of  your  knife,  leaving  the  print  (which  is  held 
by  the  varnish)  o^  the  plate  ;  now  give  it  a 
coat  of  varnish,  which  will  add  to  its  transparency 
and  aids  in  detaining  it  upon  the  glass  or  plate. 
You'now  have  a  beautiful  colored  picture  which  re- 


32 


THE  SECRET  OF 


sembles  an  oil  painting.  You  can  decorate  your 
furniture  in  this  way  at  a  trifling  expense,  and  the 
fact  of  its  being  easy  to  understand,  makes  it  more 
valuable  to  the  young  folks  It  can  be  applied  to 
cloth,  linen,  silk,  wood,  China  and  paper,  with  good 
effect.  There  are  two  kinds  of  designs  prepared 
and  sold  as  decalcomanies — one  is  transparent  and 
the  other  opaque ;  the  former  sometimes  called 
diaphanies  and  used  on  glass. 


PICTORIAL  ART. 


33 


COPYING  INK. 


OME,  if  not  all,  who  read  this  book  may  like 
to  know  how  copying  ink  is  made.    I  will 
give  it : 

To  two  gallons  of  rain  water  add  one-fourth  lb 
gum  arabic.  one-fourth  lb.  brown  sugar,  one-fourth 
lb.  clean  copperas,  three- fourths  lb.  powdered  nut 
galls  ;  mix  and  shake  occasionally.  After  ten  days, 
strain  ;  you  may  obtain  it  sooner  by  steeping. 


34 


THE  SECRET  OF 


PAINTING  ON  SILK  AND 
SATIN. 


HIS  is,  of  all  the  different  styles  of  modern 


painting,  the  most  admired,  and  seemingly 
the  most  sought  after  by  ladies  of  taste,  fashion  or 
wealth  ;  for  nothing  will  aid  more  in  beautifying 
the  dress  than  a  beautiful  flower  or  butterfly  paint- 
ed upon  the  little  satin  or  silk  scarf  which  surrounds 
the  neck,  the  collar  or  cuffs  ;  your  monogram  on 
one  corner  the  pocket  handkerchief,  or  any  other 
portion  of  the  dress  desired  by  the  lady  artist  or 
lady  of  taste. 

Transferring. — First  get  the  outlines  of  the 
picture  you  wish  to  paint,  in  the  following  manner : 
Lay  the  picture  upon  the  silk  to  receive  the  paint- 
ing and  with  a  needle-point  prick  through  the  pic- 
ture, following  closely  the  outlines,  until  you  have 
passed  over  the  whole,  holding  it  to  its  place  with 
one  hand  ;  with  the  other  rub  over  the  perforated 
part  a  black  powder  or  fine  crayon.  For  this  pur- 
pose use  a  piece  of  velvet,  rubbing  it  sufficiently  to 
pass  the  powder  through  the  holes.  On  raising  the 
picture  you  have  the  outlines  of  it  left  on  the  silk, 
which  is  ready  now  to  receive  the  paints,  I  merely 
give  this  method  to  aid  the  beginner  in  getting 
started  ;  those  more  familiar  with  painting  can  com* 


PICTORIAL  ART. 


35 


mence  at  once  upon  the  silk  without  the  aid  of 
transferring. 

The  Painting. — Stretch  your  silk  upon  a  board 
and  lay  the  board  flat.  After  you  have  the  outlines, 
proceed  with  fine  pointed  brush  the  same  as  other 
fine  painting.  Do  not  place  a  brush  full  of  paint 
upon  the  work  at  once,  but  use  paint  lightly  at  first, 
otherwise  it  may  crack  and  harm  the  picture. 

N.  B.  Use  for  this  painting  the  English  oil  col- 
ors, and  mix  with  "  Hammarskold's  Sicaiif." 

After  the  work  is  completed,  if  it  looks  dull,  you 
can  bring  it  out  again  by  using  the  sicatif  gently 
upon  the  surface. 


3& 


THE  SECRET  OF 


DETECTION 


— OF — 


These  Rules  are  Applicable  to  all  Banks  in 
the  United  States  or  Canada. 


LL  bank-note  plates  throughout  the  United 


States  and  Canada  are  engraved  upon  one 
uniform  principle,  by  regular  bank-note  engraving 
companies  ;  and,  since  the  use  of  the  geometric 
lathe,  ruling  engine  and  medallion  ruling,  it  is  an 
impossibility  for  a  genuine  note  to  be  so  perfectly 
imitated  as  to  evade  detection.  They  make  the  at- 
tempt, but  fail  in  this  fine  complicated  engine  work, 
as  will  be  seen  by  the  following 


As  you  cast  your  eye  over  the  face  of  a  genuine 
bill  you  will  notice  the  work  upon  it  has  the  appear- 
ance of  a  fine  steel  engraving ;  everything  is  defined 
and  relieved  from  the  background.  We  will  notice 
the  medallion  heads  ;  they  are  rounded  out  to  life, 


PICTORIAL  ART. 


37 


and  beautifully  relieved ;  also,  the  figures  of  the 
human  form  in  the  vignette  on  the  end  of  the  bill, 
looking  as  natural  as  life  standing  out  in  front  of 
the  sky  with  the  drapery  hanging  loosely  around 
their  bodies  This  is  the  way  we  find  a  genuine 
bill,  while  a  counterfeit  looks  blurred,  the  lines  un- 
even, and  the  figure  not  relieved  from  the  paper 
upon  which  it  is  printed,  the  whole  having  the  ap- 
pearance of  the  ink  running  into  the  paper  Ease 
and  facility  of  judging  money  is  only  acquired  by 
very  many  years  of  experience  in  handling  it,  or 
first  becoming  acquainted  with  the  various  figures 
on  a  genuine  and  counterfeit  note  and  the  process  by 
which  they  are  engraved. 

We  take,  in  the  first  place,  the  pattern  around 
the  figure  of  the  bill. 

This  is  produced  by  the  geometric  lathe  which 
engraves  the  oval  pattern  on  the  die,  in  which  the 
figure,  representing  the  denomination  of  the  bill,  is 
placed,  cutting  in  all  those  fine  lines  so  even  and 
distinct ;  they  are  so  perfectly  interwoven  into  each 
other  that  you  cannot  discover  the  slightest  imper- 
fection about  them. 

Second,  is  the  Shading. — The  shading  around 
the  letters  is  produced  by  the  ruling  engine;  these  are 
fine  parallel  lines  exactly  of  the  same  size  and  the 
same  distance  apart,  running  parallel  to  each  other. 
In  the  counterfeit  this  shading  is  produced  by  the 
hand,  and  looks  coarse  and  blurred.  The  lines 
running  irregular  and  breaking  off  at  different 
points,  or  mixing  together,  they  do  not,  as  in  the  gen* 


38 


THE  SECRET  OF 


uine  look  smooth,  showing  the  blunders  in  the  hand- 
work of  the  counterfeit  in  trying  to  imitate  the 
work  of  the  engine. 

Third,  Medallion  Heads.— The  Medallion  head 
in  the  genuine  seems  to  be  raised,  or  relieved  from 
the  paper  upon  which  it  is  printed  and  standing  out 
in  bold  relief;  every  feature  of  the  face  beautifully 
delineated  and  rounded  out  to  life ;  the  eyes  look 
bright  and  full  ;  the  hair  is  natural,  and  seems  to 
spread  apart,  running  in  fine  dots  over  the  forehead, 
producing  the  lights  aud  shades  ;  it  also  has  a  fine 
body  and  depth  of  tone.  It  seems  as  if  we  could 
raise  the  hair  from  the  paper  with  the  point  of  a 
knife. 

In  the  counterfeit  the  shading  is  produced  by 
hand,  and  looks  flat  and  sinks  into  the  background. 
The  eyes  do  not  have  that  brightness,  nor  the  hair 
that  relief ;  the  ruling  looks  like  hand  work  with  a 
rough  pen  ;  the  background  lacks  fineness,  and 
distance.  These  three  rules  are  called  infalli- 
ble, because  they  are  engraved  by  machinery  and 
cannot  be  imitated  by  hand  work. 

We  will  now  examine  the  engraving  of  the  sky, 
the  human  form  and  the  drapery  surrounding  it  ; 
the  scenery;  the  engravers  name/  and  apply  the 
above  rules  in  the  shades,  etc.  The  sky  is  soft  and 
smooth,  and  shows  distance  as  if  it  was  placed  on 
the  paper  first  and  the  other  objects  afterward. 

The  Human  Form  looks  happy  and  natural  as 
life,  and  stands  easy;  the  eyes  look  clear  and  full;  the 
mouth,  hair  and  face  look  as  if  it  might  speak  to 


PICTORIAL  ART. 


39 


us;  the  drapery  hangs  loosely  around  it,  showing  the 
folds  and  shades  in  the  silk  or  cloth. 

In  the  Scenery  we  notice  the  sheaves  of  wheat, 
and  the  seed  in  the  sheaf ;  the  leaves,  etc.,  look 
easy  and  natural 

The  Name  of  the  Engraver  is  placed  in  small 
letters  near  the  Cashier  or  President's  signature  In 
the  genuine  this  is  a  die  cut  in  the  most  perfect 
manner  ;  the  letters  are  perfect.  In  the  counterfeit 
it  is  cut  in  by  hand,  and  generally  looks  blurred, 
and  most  always  uneven,  one  letter  running  higher 
than  another. 

ALTERED  DENOMINATIONS. 
This  is  changing  notes  of  small  to  a  larger  de- 
nomination, and  is  done  sometimes  by  pasting,  or 
by  extracting  the  ink  of  the  figure  and  the  die,  by  a 
chemical,  and  printing  in  its  place  a  figure  of  a 
larger  denomination.  We  can  discover  the  change 
by  holding  to  the  light,  the  paper  looks  blurred  or 
faded. 


40  The  secret  of 


THE  SEVEN  WONDERS  OF 
THE  WORLD. 


f  GIVE  the  Seven  Wonders  to  the  patrons  of 
this  little  book,  thinking  they  may  be  of  in- 
est,  as  there  may  be  some  who  never  saw  them 
in  print.  It  would  be  well  to  commit  them  to 
memory : 

First.  The  Pyramids  of  Egypt. 

Second.  Statur  of  Jupiter  of  Olympia. 

Third.  Colossus  of  Rhodes. 

Fourth.  Mausoleum  at  Halecainassus. 

Fifth.  Temple  dedicated  to  Diana,  at  Ephesus. 

Sixth.  Walls  and  hanging  garden  of  Babylon. 

Seventh.  Royal  Palace  of  Cyrus. 

Eighth.  k<  The  Secret,"  a  little  book  containing 
many  valuable  things  never  before  published. 

EXPLANATION. 

PYRAMIDS. — A  solid  body  standing  on  a  triangu- 
lar square  or  polygonal  base  ending  in  a  point  at 
top. 

Statue. — A  carved  representation  of  a  living 
being. 

Jupiter. — A  supreme  monarch  of  gods  and  men. 


PICTORIAL  ART. 


4r 


Colossus. — A  large  statue  of  ancient  Rhodes  rep- 
resenting a  giant. 

Mausoleum.  —  A  magnificent  monument,  so 
called  from  Mausolus,  King  of  Caria,  to  whom 
such  a  monument  was  erected  by  his  queen,  853 
years  B  C. 


42 


THE  SECRET  OF 


||meijitl  Jpqal  con  tame 

HE  Art  of  Decalcomanie  has  now  been  suc- 
cessfully before  the  public  for  the  last  three 
years.  The  above  is  still  a  later  invention,  and 
never  before  brought  to  the  market.  It  has  often 
been  remarked  and  complained  about,  whether  the 
durability  of  a  transferred  article,  particularly  on 
glass,  porcelain,  china,  etc.,  could  not  be  improved 
upon.  This  has  at  last  been  accomplished,  that  the 
choicest  designs  are  now  likewise  printed  with  min- 
eral of  china  colors,  thus  meeting  a  demand 
often  made.  Articles  ornamented  in  this  manner, 
and  after  going  through  the  regular  process  of  burn- 
ing in,  will  be  found  as  durable  and  impossible  to 
deface  as  those  painted  by  hand  from  the  celebrated 
potteries  of  Europe.  By  this,  the  art  of  Decal- 
comanie is  brought  to  perfection. 

DIRECTIONS.  . 

i.  Place  the  mineral  subject  which  you  wish  to 
transfer  (about  ten  to  fifteen  minutes  before  being 
used),  between  some  blotting  paper  slightly  mois- 
tened. The  object  of  this  is  to  give  flexibility  to  the 
paper,  which  thus  moistened  will  give  itself  easy  to 
the  object,  either  concave  or  convex,  on  which  you 
desire  to  transfer. 


PICTORIAL  ART. 


43 


2.  Cover  the  object  to  be  decorated  with  a  coat 
of  Verifiable  Varnish,  about  the  size  of  the  design, 
with  a  flat  camel's-hair  brush ;  leave  it  to  dry  a  few 
minutes,  that  is,  until  the  varnish  is  nearly  dry,  and 
be  careful  to  lay  on  the  varnish  as  thin  and  even  as 
possible,  nor  leave  any  spots  bare.  The  varnish 
may  be  applied  to  the  picture  instead  of  the  ware. 

3.  Press  the  picture  on  in  a  uniform  manner,  and 
rub  at  first  with  a  clean  piece  of  linen  ;  then,  with 
the  handle  of  a  tooth-brush.,  or  ivory  handle  of  an 
infant's  brush,  or  any  smooth  article  suitable  in 
shape,  rub  constantly  for  several  minutes,  until  the 
entire  paper  assumes  a  polished  appearance. 

4.  Place  the  transferred  object  in  a  pail  of  water, 
until  the  paper  detaches  itself,  or  can  be  removed 
without  any  difficulty. 

5.  Pass  gently  a  -soft  brush,  dipped  in  water, 
over  the  transferred  picture,  in  order  to  remove  the 
preparation  off  the  paper.  Press  down  the  blisters 
of  the  picture  with  a  soft  pad  made  of  silk  or  linen, 
instead  of  the  above  manner,  if  preferred. 

6.  Now  lay  aside  the  decorated  article  for  twenty- 
four  hours  to  get  thoroughly  dry,  and  be  careful  in 
keeping  it  out  of  the  dust. 

This  being  all  done,  according  to  directions,  your 
work  is  now  ready  for  being  burnt  in  by  the  fur- 
nace. The  burning  in  process,  for  which  the  work 
is  now  waiting,  is  only  to  be  accomplished  in  a  china 
burning  establishment. 


44  THE  SECRET  OF 


Materials  Required  for  Mineral,  or  Burning 
in,  Decalcomanie. 

I.  One  Flat  Camel's-Hair  Brush. 

2.  Vial  of  Vitrifiable  Varnish. 

3.  Vial  Clarified  Spirits. 
The  subjects  of  Mineral  Decalcomanie  are  in 
great  variety,  an  I  new  designs  are  constantly  added. 
In  ordering,  state  style  wanted  by  giving  some  idea 
or  description  of  design  by  number,  as  below. 


MINERAL,  OR  BURNING  IN,  DECALCO- 
MANIE. 

No. 

301.    Upright  Flower  Bouquets,  3x4,  30  on 

sheet  $2  10 

330.    Scenes,  Landscapes,  2x2},  35  on  sheet...  1  50 

351.    Roman  Heads,  2x2^,  36  on  sheet   3  60 

355.    Celebrated  Painters' and  Female  Heads, 

2^x2^,  20  on  sheet   3  00 

557.    Ladies'  Heads,  small,  ix*^,    144  on 

sheet   2  40 

365.    Ladies'  Heads,  2x3,  25  on  sheet   2  40 

401.    Children  Scenes,  Watteau  style,  2x2|^, 

42  on  sheet  ,   2  40 

417.    Ladies'  Heads,  oval,    2^x3 20  on 

sheet  -2  40 

502.    Flower  Bouquets,  assorted,  64  on  sheet.  2  40 

505.  Children's  Heads,  ixij^,  168  on  sheet..  2  40 

506.  Roman  Heads,     4x2^,    20       "         2  40 

507.  "  "         3x2,       36       "         2  40 

508.  Females,  4x3,       16       "         2  40 


PICTORIAL  ART.  45 


509.  Female  Heads,     2x23^,    42  on  sheet.  2  40 

510.  Monkeys,  3x3-^  20  on  sheet   1  80 

511.  Roman  Heads,  one  color,  48  on  sheet. .  75 

512.  Round  Fruit  Pieces,  5x5.  16  on  sheet..  2  10 

513.  Classical  Statuary  Figures  in  groups, 

6xcj£,  6  on  sheet   1  80 

514.  Classical  Statuary   Figures  in  groups, 

4^x7,  6  on  sheet   1  80 

515.  Deers,  full  size,  15  on  sheet   1  80 

$21.    Oval  Fruit  Pieces,  3x3}^,  36  011  sheet. .  2  10 

521.  Bis.   Oblong  Fruit  Pieces   3x3*^  and 

lx3/4i  3°  011  sheet   2  10 

522.  Bis.  Children's    Pieces,  3x3^,   18  on 

sheet   2  40 

522.  Children,    in    squares,   3x4^,    12  on 

sheet   2  40 

523.  Chinese,  in  groups,  6x4,  10  on  sheet...  .  1  20 
524  Birds,  in  squares,  3x2^.  24  on  sheet....  2  10 
525.    Oval  Flowers  and  Fruit  Pieces,  5x2^, 

22  on  sheet   65 

527.    Garland  of  Mosses,  Roses,  etc.,  assort- 
ed 28  on  sheet   2  10 

530.  Etruscan  Figures,  Emblems,  etc.,  31  on 

sheet     3  00 

531.  Female  Busts,  4x5,  10  on  sheet   2  40 

532.  Oval  Landscapes,  5^x4,  9  on  sheet..  .  .  2  40 

533.  Children's  Heads,  2^x3!,  21  on  sheet..  2  40 

534.  Fantastic  Warriors  and  Females,  as- 

sorted, 14  on  sheet   2  40 

539.    Female  Busts,  3x3^,  21  on  sheet.   2  40 

543.    Figures  in  Groups,  ass't'd,  8  on  sheet.,.  2  40 


46 


THE  SECRET  OF 


544.  Monkeys,  1^x13^,  48  on  sheet   2  40 

545.  Children,  in  squares,  2}x3,  30  on  sheet..  2  40 

546.  Fantastic  Warriors  and  Females,  2x3, 

30  on  sheet   2  40 

549.  Oval    Landscapes,    2^x3^,    21  on 

sheet.  , .  2  40 

550.  Birds,  in  round  circles,  SXX5M»  12  on 
sheet.   2  40 

550.  Bis.,  Birds,  single,  3x3^,  24  on  sheet.. . .  1  80 

551.  Moss  Roses  and  Garlands,  assorted, 

25  on  sheet   2  40 

552.  Paul  and   Virginia,  Upright  Squares, 

5^x8,  6  on  sheet   2  40 

553.  Female  Busts,  2x3,  30  on  sheet   2  40 

556.    Wreath  of  Flowers,  2  sizes,  large,  10  on 

sheet   2  40 

558.  Oblong   Fruit   Pieces,    1x3^,    58  on 

sheet   I  80 

559.  Children,  in  Statuary  Style,  3^x23^*, 

24  on  sheet.   2  10 

561.  Cupids,  in  Groups,  3x5,  12  on  sheet.  . .  2  40 

562.  Female  Heads,  ixij^,  165  on  sheet..  ..  2  10 
564.    Letters  in  Garters,  and  Plain,  2^x2^, 

98  on  sheet. . . . .  .  2  10 

566.    Birds,  1x2^,  70  on  sheet   2  40 

568.  Insects,  Flies,  Beetles,  etc.,  etc.,  220  on 

on  sheet.   2  40 

569.  Children,  4  different  styles,  2x3^,  30 

sheet   2  40 

571,    Birds,  in  Upright  Oval  Wreaths,  5^x6, 

8  on  sheet   2  40 


PICTORIAL  ART.  47 


578.  Hens,  Chickens,  Roosters,  1x1,  142  on 

sheet   2  40 

579.  Children,  in  Upright  Squares,  2^x3, 

28  on  sheet   2  40 

580.  Young  Warriors,  2^x3}^,  30  on  sheet...  2  40 

581.  Groups  of  Figures,  2^x3,  26  on  sheet...  2  40 

583.  Mottoes,  2x2^,  63  on  s-heet   2  40 

584.  Amazon  on  Horse,  Combatting  Lion, 

534x8,  7  on  sheet   1  50 

591.    Paul  and  Virginia,  4x53^,  15  on  sheet.  .  3  00 

594.  Rococco   I  2j0 

595.  Children  Scenes,  3x4^,  12  on  sheet.. .  .  2  40 

597     Cupids,  ixi^>,  126  on  sheet   2  40 

598.    Children  in  Groups,  oval,  3x4*^,  14  on 

sheet .    2  40 

600.    Religious,  in  Upright  Ovals,  2x2%,  28 

on  sheet   1  20 

600.    Bis.,  Religious,  in  Upright  Ovals,  ijx2, 

45  on  sheet   1  20 

602.  Landscapes,  oval,  2x3,  30  on  sheet . . , .  2  40 
606.    Children   Scenes,    6   different  styles, 

2j^x2,  60  on  sheet   2  40 

609.    Flower  Bouquets,  oval,  1^x3,  40  on 

sheet   go 

611.  Animal  Heads,  1^x1^,  135  on  sheet.  1  50 

612.  «  -      2^x2^,    48       "         1  50 

613.  Emblems,  B.  5   2  40 

616.    Landscapes,  ij^xij^,  120  on  sheet          1  80 

618.    Animals,  3^x5,  18  on  sheet   2  40 

627.  Spray  of  Flowers, '2x3},  60  on  sheet...  .  2  40 

628.  Children  Scenes,  2x2X,  42  on  sheet          1  So 

New  designs  to  follow  in  rapid  succession. 


48 


THE  SECRET  OF 


The  above  designs  are  all  to  be  burnt  in  on 
Crystal,  Porcelain,  etc.,  and  cannot  be  used  any 
other  way. 


PICTORIAL  ART. 


49 


TO  PRODUCE 

— ON — 

PAPER,  WOOD  |  GLASS. 


CONCENTRATED  Solution  of  Salt,  Acetate 
of  Soda,  Epsom  Salt,  etc.,  mixed  with  Dex- 
trine in  the  cold,  and  laid  on  thinly  as  possible, 
with  a  broad,  soft  brush,  and  allowed  to  dry.  The 
paper  must  be  sized  first,  otherwise  the  formation 
of  crystals  will  be  irregular,  on  account  of  the  ab- 
sorption of  the  liquid  The  coating  on  glass  is  ren- 
dered adhesive  by  brushing  it  with  a  solution  of 
shellac  in  alcohol. 

Colored  glass  arranged  in  this  way  makes  a  pret- 
ty transparency. 

A  beautiful  adhesive  coating  of  pearly  lustre  upon 
paper  produces  a  very  handsome  card. 


(4) 


50 


THE  SECRET  OF 


PRESERVING  NATURAL 
FLOWERS. 


HIS  art  of  preserving  flowers  is  worthy  of  more 
than  a  casual  thought.  Many  a  flower  or 
funeral  wreath  might  be  retained  as  a  sweet  me- 
mento of  a  dear  and  loving  friend,  did  we  but  know 
how  to  arrange  them  so  that  they  will  appear 
natural  at  any  and  all  times  of  the  year. 

Clip  from  the  bush,  without  injuring  the  stem, 
the  buds  just  as  they  are  opening,  allowing  two  or 
three  inches  of  stem  with  each  bud,  and  immedi- 
ately cover  the  ends  with  h'^t  sealing  wax.  When 
cold,  wrap  them  up  in  tissue  paper,  separately,  and 
lay  them  away  in  a  cool  place  in  a  box,  where  nothing 
can  rest  upon  or  injure  them. 

At  any  time  you  wish  to  make  use  of  them,  bring 
them  forth  from  the  place  of  concealment,  cut  off 
the  end  containing  the  wax,  and  place  the  stems  in 
a  vase  of  cool  water,  containing  a  little  salt.  Allow 
them  to  remain  in  a  moderately  warm  room  for  a 
few  hours,  and  you  will  perceive  the  buds  com- 
mencing to  expand  and  open,  and  soon  after  you 
can  have  the  opportunity  of  beholding  a  full-blown 
rose,  representing  all  those  beautiful  colors  with 
which  nature  has  so  wisely  endowed  it,  and  sending 


PICTORIAL  ART. 


51 


forth,  in  all  the  sweetness  and  purity  of  its  nature, 
the  most  loving  and  fascinating  .odors,  which  is  so 
much  desired  and  sought  after  by  lovers,  of  both 
sexes. 

The  flowers  in  winter  command  exceedingly  hi^h 
prices,  so  much  so,  that  some  are  making  it  a  busi- 
ness of  preparing  them,  and  are  making  money  by 
the  operation. 


52 


THE  SECRET  OF 


Painting  on  China,  Porcelain,  Earthen- 
ware and  Enamel. 


COLORS  USED  AND  THE   PROCESS  OF 
BURNING  THEM  IN. 


merits  for  use,  the  art  of  decorating  them,  the  par- 
ticular kinds  of  paints  used,  and  the  operation 
through  which  they  pass  in  the  burning  in  of  the 
colors.  It  would  be  useless  for  me  to  attempt  a 
book  on  art  that  would  meet  the  wants  of  the 
people,  and  omit  China  Painting,  which  is  gaining 
universal  favor  among  the  higher  classes  in  Eastern 
cities. 


of  attention  among  the  Amer- 
ican people  at  the  present  time,  and 
especially  the  intelligent  class,  who 
are  taking  every  opportunity  of  in- 
forming themselves  hi  regard  to  the 
plan  of  moulding  the  various  orna- 


HIS  art  is  receiving  a  great  deal 


PICTORIAL  ART. 


The  art  is  applied  directly  to  the  ornamentation 
of  the  house,  which  makes  it  much  sought  after  by- 
ladies,  who  take  pride  in  ornamenting  their  china 
and  earthenware  by  the  use  of  the  La  Croix  Enamel 
Colors,  which  are  arranged  especially  for  this  kind 
of  painting. 

After  the  paints  are  applied  the  ware  requires  a 
certain  amount  of  heat  to  fix  the  colors  and  pre- 
vent it  from  being  effaced  by  washing. 

Commence  work  by  first 

TRACING  THE  DRAWING. 

For  tracing,  details  should  be  left  out  as  much  as 
possible,  or  at  any  rate  indicated  soberly, 

Direct  Outline. — It  the  pupil  can  draw  well,  she 
will  outline  her  subject  lightly  on  the  object  she 
wishes  to  paint,  directly,  without  tracing,  by  means 
of  a  lithographic  pencil. 

Transferring. — When  you  want  to  make  a  mi* 
nute  and  complicated  drawing,  you  are  obliged  to 
transfer,  to  avoid  getting  double  lines  on  the  china. 

Before  transferring,  prepare  your  piece  of  ware 
as  follows  :  Pour  three  drops  of  alcohol  on  the 
plaque  or  white  plate  intended  for  decoration. 

It  is  very  easy  to  trace  on  a  perfectly  flat  surface. 
We  shall  mention  several  ways. 

First  Method.  —  Tracing  by  rubbing. — After 
having  traced  from  the  engraving  or  original  model 
to  be  reproduced  the  outline  of  your  subject  (figure, 
ornament  or  landscape)  with  one  of  the  lithographic 
pencils,  you  reverse  the  tracing  over  a  sheet  of  white 
paper,  and  go  over  the  outline  again  very  carefully 


54 


THE  SECRET  OF 


with  the  same  pencil ;  this  being  done,  prepare  your 
piece  of  china  with  medium  as  we  have  just  de- 
scribed. The  vegetal  tracing  paper  is  then  fixed,  by 
means  of  little  lumps  of  modelling  wax,  on  the  ex 
act  spot  the  subject  is  to  occupy  ;  and  when  that  is 
done  you  have  only  to  rub  all  over  the  outline  with 
an  ivory  knife,  to  make  the  lead  that  is  on  the 
vegetal  tracing  paper  convey  itself  distinctly  on  to 
the  previously  oiled  enamel. 

Second  Method. —  Tracing  with  a  tracing 
point.- -Take  either  black,  blue,  or  carmine  trans- 
ferring paper,  according  to  the  tint  of  the  painting 
that  is  to  be  done.  The  carmine  gives  all  security 
for  the  success  of  the  painting;  it  does  not  soil  it. 
When  the  piece  of  paper  has  been  rubbed  with  car- 
mine from  a  soft  crayon,  after  taking  great  care  to 
remove  what  is  superfluous,  it  is  cut  to  the  size  of 
the  subject,  or  rather  to  that  of  the  space  you  are 
to  paint  on. 

To  make  sure  of  tracing  on  the  exact  spot,  you 
must  draw  a  horizontal  line  in  the  middle  of  your 
drawing,  one  also  in  the  middle  of  the  tracing  paper, 
and  one  as  well  on  the  porcelain,  with  crosses  and 
letters  to  each  end  as  landmarks :  two  crosses 
marked  A  and  B  on  the  horizontal  line  of  the 

enamel,  and  -j  1-  a  b  on  the  horizontal  line  of  the 

tracing  paper.  The  piece  is  prepared  with  oil  of 
turpentine  or  spirits  of  wine.  At  the  end  of  two 
or  three  minutes  you  place  your  drawing  on  the 

porcelain  in  accordance  with  the  marks  H  \~  a  b, 

taking  care  to  place  the  middle  lines  one  on  the  top 


PICTORIAL  ART. 


55 


of  the  other,  a  on  A,  and  b  on  B  ;  you  fix  the 
vegetal  tracing  paper  by  means  of  small  bits  of 
gummed  paper,  or  else  with  little  balls  of  modelling 
wax;  the  sheet  of  tracing  paper  being  quite  firm, 
you  slide  beneath  it  the  piece  of  paper  rubbed  with 
carmine,  blue,  or  black  lead ;  you  then  take  a  por- 
cupine quill  with  a  fine  point,  and  without  leaning 
too  hard  youfcgo  over  all  the  outline.  You  must  be 
careful  not  to  press  your  fingers  on  the  drawing,  for 
it  often  causes  the  deposit  of  powder  to  be  of  the 
same  color  as  your  transferring  paper,  which  spoils 
the  result  and  prevents  careful  painting.  Before 
finishing  all  the  work,  lift  up  a  corner  of  the  over- 
lying paper  to  see  if  the  tracing  does  mark.  It  will 
be  but  an  affair  of  habit  to  trace  well,  for  it  is  by 
experiments  frequently  repeated  that  one  comes  to 
know  exactly  the  amount  of  strength  to  be  used  so 
that  the  transferring  paper  may  mark  sufficiently. 
This  paper  lasts  a  long  time,  and  improves  as  it 
grows  old ;  you  must  prevent  it  from  getting 
creased.  For  this,  each  time  it  has  been  used,  it 
should  be  put  away  into  a  brown  paper  cover, 
wherein  the  tracing  papers  are  also  placed. 

Third  Method — Is  by  pricking  the  outline  with 
small  holes,  and  in  making  what  is  called  a 
li  Poncif." 

In  a  bottle  containing  alcohol  the  brushes  and 
the  dabbers  are  cleaned  after  each  day's  work.  To 
preserve  these  useful  instruments  it  is  indispensable 
never  to  leave  any  color  in  them  ;  you  must  take 
care  to  wipe  them  well  after  this  washing,  and  even 


"66 


THE  SECRET  OF 


to  blow  a  little  on  them,  to  make  the  spirits  of  wine 
evaporate,  for  if  any  were  to  remain  it  would  spoil 
the  color  and  take  away  the  painting  already 
finished.  With  a  few  drops  of  spirits  of  wine,  the 
most  loaded  palette  can  be  instantaneously  cleaned, 
and  the  driest  painting  con  be  effaced.  For  this 
reason  I  recommend  that  the  little  bottle  of  spirits 
of  wine  be  kept  always  far  away  from  you  during 
your  work  ;  if  a  single  drop  were  to  fall  on  the 
painting,  it  would  immediately  smear  and  obliterate 
the  work  done. 

Cleaning  brushes  with  spirits  of  wine  has  to  be 
done  every  day.  From  time  to  time  a  more  thor- 
ough cleaning  with  soft  soap  is  resorted  to  ;  the 
brushes  are  steeped  in  the  soap,  and  are  washed  the 
next  day  only. 


PICTORIAL  ART, 


57 


PORCELAIN  AND  EARTHENWARE.— COM- 
POSITION, USE  AND  MIXING 
OF  THE  COLORS. 


GENERAL  INFORMATION. 

E  borrow  from  M.  I  acroix  his  classification  of 
colors,  which  is  very  practical  with  regard  to 
their  employment  in  painting  : 

"  Classification  of  colors  with  respect  to  iron — 
Iron  plays  an  important  part  in  the  composition  of 
a  great  many  enamel  colors  ;  for  this  reason  I  have 
taken  it  as  a  standard  for  my  classification  of  colors 
into  three  groups. 

"  First  Group. — Colors  that  do  not  contain  any 
iron  :  First,  the  white  ;  secondly,  the  blues  ;  third- 
ly, the  colors  from  gold/ 

"A  horn  or  ivory  knife  is  preferable  for  the  use 
of  colors  of  this  group. 

"A  glass  muller  is  still  better  than  knives. 
"  Second  Group, — Colors  with  but  little  trace  of 
iron.    This  group  includes  the  yellows  and  greens, 
several  of  which  colors  contain  iron  in  small  quan- 
tities. 

"  Third  Group. — Colors  with  an  iron  basis,  or  of 
which  iron  is  one  of  the  coloring  parts :    First,  the 


3S 


THE  SECRET  OF 


reds,  fleshes,  red  browns,  and  violets  of  iron  ;  Sec- 
ondly, the  browns,  yellow  browns,  ochres,  blacks, 
and  a  greater  part  of  the  greys/' 

The  enamel  colors  usually  designated  by  the  name 
of  iron  colors  are:  All  the  browns;  the  greys,  ex- 
cepting platina  grey ;  the  blacks,  minus  iridium 
black  ;  the  ochres  ;  the  reds,  and  the  violets  of  iron. 

The  enamel  colors  said  to  be  with  a  golden  basis 
are:  The  carmines  ;  crimson  lake  ;  the  purples,  and 
the  violets  of  gold. 

Tests. — The  amount  of  flux  added  to  the  color- 
ing oxides  for  the  manufacture  of  enamel  colors 
varies  according  to  the  color  ;  this  difference,  joined 
to  the  diversity  of  the  chemical  elements,  causes 
actions  in  the  firing  which  may  modify  certain  col- 
ors and  even  make  them  disappear  entirely:  it  is 
said  expressively  that  they  have  been  eaten  up,  de- 
voured by  the  fire.  We  shall  cite,  as  an  example 
the  mixture  of  ivory  yellow  with  carmine,  as  one  of 
those  which  decompose  in  the  firing.  Other  causes 
act  likewise  on  enamel  colors  during  firing :  the  in- 
tensity, more  or  less  great,  of  the  heat,  the  thick- 
ness and  the  amount  of  oil  in  the  color,  the  way  it 
is  used,  etc. 

In  order  to  well  understand  the  various  influences, 
and  to  secure  yourself  against  accidents,  you  must 
be  continually  making  tests  of  the  mixtures  your- 
self; it  is  the  only  way  to  paint  with  safety. 

It  is  indispensable  for  the  test  to  be  double,  that 
is,  on  two  small  bits  of  precisely  the  same 
manufacture  of  china  as  the  piece  you  wish  to 


PICTORIAL  ART. 


59 


paint.  The  same  mixture  is  made  on  both  small 
pieces,  they  are  both  dried,  and  one  only  is  fired  in 
order  to  be  able  to  judge  what  change  is  caused  by 
the  firing,  by  comparing  it  with  the  unfired  test  you 
have  kept  by  you.  Besides,  you  will  be  able  to 
make  sure  of  a  satisfactory  result  by  comparing 
your  experiments  with  the  test  tiles  and  plates  of 
fired  colors. 

Mixed  colors  should  be  stirred  with  the  brush 
when  used;  without  this  precaution,  they  would 
separate  :  light  blue  would  rise  on  dark  blue,  yellow 
on  green,  ivory  yellow  on  carnation. 

Some  hints  follow  which  it  will  be  advantageous 
to  verify  and  to  carry  out  by  tests.  They  apply 
generally  to  painting  on  porcelain  or  earthenware 
for  the  ordinary  muffle. 

Fusibility. — Hard  colors  (those  which  require 
the  greatest  heat  to  make  them  fuse)  spoil  and 
often  destroy  those  of  a  softer  flux  (that  fuse  more 
easily).  The  flux  added  by  the  manufacturer  to  the 
coloring  oxide  lightens  the  tint  of  the  color ;  dark 
colors  are  therefore  generally  harder  than  light 
ones.  In  the  palette  of  M.  Lacroix  the  colors  more 
fusible  than  the  rest,  although  taking  the  same  time 
to  fire,  are:  light  sky  blue,  light  carmine  A,  pearl 
grey,  warm  or  russet  grey,  and  ivory  yellow  ;  all 
light  colors. 

Thickness. — The  tint  of  enamel  colors  gets  dark- 
er when  you  increase  their  thickness.  But  you 
must  beware  of  doing  it  too  much.     Light  and 


60  THE  SECRET  OF 


fusible  colors  used  too  thick,  blister  in  firing ;  it  is 
prudent  to  give  them  only  a  medium  thickness. 

You  should  apply  in  drops  those  colors  only  that 
are  specially  designed  for  the  purpose ;  permanent 
white,  permanent  yellow,  and  relief.  They  hold  on 
earthenware,  but  their  use  on  porcelain  is  liable  to 
failure. 

Mediums. — Experience  will  prove  that  if  too 
much  oil  of  turpentine  is  added  to  the  colors  used, 
which  is  called  adding  "fat,"  they  will  craze  in  the 
firing.  Make  some  trials  by  exaggerating  this  fault. 
You  will  remark  nevertheless  that  colors  applied 
very  thin,  although  with  much  "fat,"  do  not  craze. 

The  cracks  caused  in  the  firing,  by  the  action  of 
the  resinous  part  of  the  oil,  which  evaporates  and 
causes  the  white  of  the  enamel  to  reappear,  are 
called  crazing. 

Conduct  of  the  work. — It  is  very  important  in 
the  first  painting  to  use  the  most  fusible  light  col- 
ors and  those  most  easily  developed  in  the  first 
firing,  which  is  the  strongest.  Commence  always 
on  a  lighter  scale  than  the  final  tint,  for  in  pottery 
painting,  any  color  made  too  dark  in  firing  cannot 
be  made  light  again.  When  the  mixtures  have  pro- 
duced, for  example,  some  browns  or  russet  hues 
which  have  not  glazed  in  the  first  firing,  the  glazing 
is  brought  back  by  a  little  fusible  light  grey,  ap- 
plied before  the  second  firing  for  retouches.  These 
short  general  instructions  will  be  resumed  and  de- 
veloped in  the  following  lessons. 


PICTORIAL  ART.  6l 


SPECIAL    INFORMATION  CONCERNING 
PAINTING  COLORS. 


MODE   OF    USE.  —  MIXTURES.  —  CONCORDANCE  OF 
ENAMEL  WITH  MOIST  AND  OIL  COLORS,  AND 
THEIR  USUAL  TECHNICAL  NAMES. 


Whites,  belonging  to  the  first  group. 

tHITE  is  obtained  by  permanent  white  (for  high 
lights)  and  Chinese  white,  a  color  of  very  lim- 
ited use  in  painting,  it  being  preferable  to  keep  the 
white  of  the  china  when  possible. 

Permanent  white,  alone  or  mixed  with  other  col- 
ors for  heightening,  which  is  called  high  light,  or 
telief,  requires  perfect  grinding.  Tt  should  be 
tried  by  repeated  and  well-fired  tests  before  using 
it  for  important  works.  It  is  lifted  up  with  the 
point  of  the  brush,  and  laid  without  spreading.  It 
could  not  bear  two  firings  ;  it  is  put  at  the  second 
firing,  which  is  always  less  powerful. 

Blues.— (First  Group.) 
In  his  character  as  a  chemist,  M.  Lncroix  gives 
us,  in  his  work  already  quoted,  the  general  reason 
for  excessive  care  in  using  blues  :    "All  the  blues 


62 


THE  SECRET  OF 


with  very  few  exceptions,  derive  their  color  from 

cobalt  As  the  mixture  of  cobalt  and  iron 

produces,  proportionably,  tints  varying  from  light 
grey  to  black,  it  is  well  to  take  great  precautions  in 
painting  when  blues  are  used  with  reds,  fleshes, 
browns  and  ochres.  It  follows  as  a  natural  con- 
sequence that  when  you  wish  to  have  some  beauti- 
ful shades  of  blue  you  must  avoid  using  brushes 
which  have  already  served  for  one  of  the  iron  col- 
ors, and  have  not  been  properly  cleaned." 

Blues  are  laid  on  in  very  thin  coatings,  particu- 
larly blue  green. 

Ordinary  oil  medium. 

The  first  painting  is  but  little  loaded,  and  is 
shaded  with  the  same  tint  in  a  second  coating,  ad- 
ded to  grey  in  the  last  firing  for  the  darkest  parts. 

Here  are  some  notes  on  the  concordance  of 
enamel  colors  with  oil  colors  and  their  usual  names. 

Sky  Blue— Sky  blue. 

Light  Blue — Light  sky  blue. 

Blue  Verditer — Two-thirds  ultramarine  blue; 
one-third  deep  blue  green.    Slight  oiling. 

Barbeau  Blue,  or  Smalt — Victoria  blue. 

Marine  Blue  (in  oils] — Half  Victoria  blue  ;  half 
carmine  No.  2. 

Cobalt — Deep  ultramarine. 

Prussian  Blue. — One- third  dark  blue  ;  one-third 
Victoria  blue;  one-third  ultramarine;  a  touch  of 
grey  No.  2  ;  a  very  little  touch  of  purple. 

Indigo — Dark  blue ;  a  touch  of  raven  black. 


PICTORIAL  ART. 


63 


Carmines  and  Purples.— (First  Group.) 

Carmines  must  be  used  very  thin,  lest  they 
should  turn  yellow  in  the  firing.  You  must  put  but 
little  oil  to  avoid  shrivelling.  Never  touch  them 
with  a  knife;  the  brush  must  be  sufficient.  It  is 
also  recommended,  when  using  purple,  to  fill  the 
brush  w  ell  and  to  turn  it  round  and  round  to  dis- 
solve the  little  gritty  lumps  generally  found  at  the 
opening  of  the  tubes.  When  a  pink  color  has  had 
an  addition  of  purple  to  it,  spirits  of  lavender  with 
a  drop  of  oil  of  turpentine  should  be  preferred  to 
turpentine  only. 

All  the  carmines  are  shaded  with  the  same  tint. 
Purples  are  also  used  for  strong  shadows,  and  blues 
for  reflected  lights  If  light  tints  of  pinks  are  made 
with  light  yellows,  these  colors  must  not  be  spread 
one  over  the  other,  but  side  by  side,  otherwise  the 
carmine  tints  would  be  injured.  In  the  first  paint- 
ing, carmines  and  purples  are  to  be  laid  on  very 
light  ;  it  is  only  in  the  second  firing  that  strength- 
ening touches  are  made. 

"  When  carmines  are  fired  in  the  muffle  at  too 
low  a  temperature,  silver  takes  the  upper  hand  and 
the  color  has  a  dirty  yellow  tint  ;  if,  on  the  con- 
trary, the  temperature  is  too  high,  the  silver  shade 
is  completely  destroyed  and  the  carmine  becomes 
lilac  or  violet,  winch  explains  the  difficulty  in  firing 
carmines.  The  same  thing  takes  place  with  pur- 
ples, but  in  a  considerably  less  perceptible  degree, 
because  of  the  shade  being  much  darker  and  cassius 
being  in  a  larger  quantity." — A.  Lacroix. 


64 


THE  SECRET  OF 


Enamel  carmines  and  purples  are  equivalent  to 
the  oil  colors  of  the  same  name. 

Light  Pink — Carmine  A  and  carmine  No  i. 
Deeper  Pink— Carmine  No.  2  with  carmine  No.  3. 
Laky  Red  -  Crimson  lake. 

Purple  Lake  -Carmine  No.  1  and  a  touch  of 
purple. 

Peony  Pink— Half  ruby  purple;  half  carmine 
No.  1.  • 

Chinese  Pink — Carmine  No.  3  ;  touch  of  ruby 
purple. 

Lakes  (in  oils) — Carmines. 

Crimson  Lake  (in  oils) — Purples. 

Red  Purple  — Deep  purple. 

Crimson — Crimson  purple. 
Lilacs  and  Violets.  —  (1st  group,  except  the  vio- 
let of  iron,  which  belongs  the  to  3d  group.) 

The  same  precautions  are  required  in  using  lilacs 
as  for  carmines. 

Lilac — Half  carmine  No.  1  ;  half  sky-blue  ;  a 
touch  of  carmine  No.  3. 

Mauve— Half  carmine  A  ;  half  ultramarine. 

Magenta — Two-thirds  carmine  No.  3  ;  one-third 
deep  ultramarine  ;  a  touch  of  ruby  purple. 

Violet  -  Light  violet  of  gold. 

Deep  Violet— Deep  violet  of  gold. 

Light  Pansy — Light  violet  of  gold,  with  a  touch 
of  deep  ultramarine. 

Deep  Pansy — Deep  violet  of  gold,  sustained  more 
or  less  and  with  an  addition  of  ultramarine. 


PICTORIAL  ART. 


65 


Reds. — (3d  group,  except  the  purples.) 

Red,  a  prodominant  color,  is  nearly  always  used 
alone.  Thus  the  reddish  tips  of  green  leaves  are 
obtained  by  placing  the  red  next  the  green,  but  not 
by  putting  it  over.  With  the  dark  colors,  on  the 
contrary,  it  is  red  that  disappears. 

Chinese  vermilion  in  oils  has  an  equivalent  tint 
in  coral  for  porcelain  applied  thin  ;  backgrounds 
are  made  of  it,  but  it  would  be  risking  a  great  deal 
to  use  it  in  painting,  on  account  of  its  extreme  sen- 
sibility  in  firing  ;  besides  it  suffers  no  mixing.  Scar- 
let vermilion  is  approached  by  adding  a  touch  of 
flesh  No.  1  to  capucine  red,  and  laying  on  this  mix- 
ture in  a  moderate  thickness. 

Capucine  Red — Capucine  red. 

Poppy  Red— Half  capucine  red  ;  half  deep  pur- 
ple. A  satisfactory  result  is  obtained  only  at  the 
third  application  of  this  mixture,  which  loses  at 
each  firing. 

Madder — Capucine  red  ;  a  touch  of  purple  and 
of  carmine  No.  3. 

Gules  (in  heraldry)  —Capucine  red  and  a  touch  of 
purple. 

Venetian  Red  (in  oils)— Violet  of  iron  (third 
group). 

Yellows.— (Second  group.) 

Certain  yellows  greatly  destroy  the  colors  mixed 
with  them  and  even  make  them  disappear  entirely. 
This  disadvantage  is  perceived  when   two  much 

(5.) 


66 


THE  SECRET  OF 


ivory  yellow  is  mixed  with  red,  or  when  that  yellow 
is  placed  abundantly  over  other  colors. 

"  The  yellow  called  silver  yellow  contains  no  sil- 
ver ;  it  is  composed  of  jonquil  yellow  and  orange 
yellow.  Yellows  that  contain  no  iron  (yellow  for 
mixing  and  jonquil  yellow)  are  generally  preferred 
for  making  fresh  greens.  On  the  other  hand,  for 
mixing  with  iron  colors,  yellows  that  contain  al- 
ready this  metal  are  used." — A.  Lacroix 

Light  yellows  scale  very  easily  ;  the  dark  yellows, 
being  less  fusible,  need  to  be  used  moderately  thin 
in  the  first  painting,  for  the  first  fire  developes 
them  ;  at  the  second  firing  they  increase  in  depth, 
and  if  they  are  to  heavily  loaded  they  cannot  be 
made  lighter  again. 

Avoid  using  yellows  next  to  blues,  which  would 
produce  a  green  tint.  For  the  centres  of  blue  flow- 
ers, which  necessitate  some  yellow,  the  place  must 
be  well  scraped  before  putting  the  color. 

Permanent  yellow  (half  white  and  half  yellow  for 
mixing)  serves  for  placing  lights  in  drapery  and  yel- 
low flowers,  as  well  as  high  lights  in  ornaments. 

Lemon  Yellow — Yellow  47  of  Sevres  with  a 
touch  of  silver  yellow. 

Golden  Yellow. — Half  silver  yellow ;  half  jon- 
quil yellow. 

Saffron  Yellow — Two-thirds  ivory  yellow  ;  one- 
third  flesh  No.  1  ;  a  touch  of  capucine  red. 

Salmon — Two-thirds  ivory  yellow  ;  one-third 
flesh  No.  2  ;  a  touch  of  carmine  No.  3. 


PICTORIAL  ART. 


67 


Straw-color — Yellow  for  mixing  used  very  lightly. 
Yellow  Lake — Yellow  for  mixing. 
Dark  Chro  ue  Yellow — Silverjyellow  ;  a  touch  of 
jonquil  yellow. 

Light  Chrome.  Yellow — Jonquil  yellow. 

Indian  Yellow — Half  jonquil  yellow  ;  half  ochre. 

Naples  Yellow — Ivory  yellow. 

Orange  Yellow — Orange  yellow. 

Maize — Half  ivory  yellow  ;  half  orange  yellow. 

Greens. — (Second  group.) 

For  foliage,  it  is  well  to  remember  that  dark  tints 
placed  in  advance  of  light  ones  destroy  the  latter  in 
the  firing. 

All  the  greens,  whether  in  foliage  or  in  drapery, 
can  be  shaded  with  browns,  reds,  and  carmine  tints. 

By  painting  over  for  the  second  fire,  foliage  can 
be  made  purple  or  bluish. 

Dark  green  being  very  powerful,  should  be  used 
with  caution. 

The  blue  greens  are  used  for  the  distance,  but 
then  excessively  light ;  they  are  tinted  with  capu- 
cine  red  for  the  horizon. 

Emerald-stone  Green — Emerald-stone  green. 

Water  Green — Half  apple  green  ;  half  deep 
blue  green. 

Veronese  Green — One-third  apple  green  ;  one- 
third  chrome  green  ;  one-third  emerald-stone  green. 

Malachite — Apple  green  ;  a  touch  of  emerald- 
stone  green. 

Blue  Green — Deep  blue  green. 


68 


THE  SECRET  OF' 


Dark  Green — Two-thirds  chrome  green  3  B  ;  one- 
third  dark  green. 

Bottle  Green  or  Sap  Green — Sap  green. 

Emerald  Green — Two-thirds  blue  green  ;  one- 
third  emerald-stone  green. 

Browns. — (Third  group.) 

The  artistic  browns  for  china  which  steady  painty 
ers  prefer  are  vigorous  browns,  fresh  when  mixed, 
and  resisting  well  the  action  of  the  fire,  but  which 
have  not  the  brilliancy  of  the  less  coloring  browns. 

The  warm  browns  in  oils  exist  for  china.  The 
deep  red  brown  and  mixtures  of  violet  of  iron  and 
of  laky  red  correspond  to  the  red  browns. 

Golden  Brown — Golden  brown. 

Vandyke  Brown — It  is  impossible  to  obtain  it 
exactly.  The  nearest  approah  would  be  by  mixing 
brown  108  with  violet  of  iron. 

Raw  Sienna — Sepia. 

Orange  Mars — Uranium  yellow,  and  a  touch  of 
purple. 

Blacks — (Third  group.) 

The  blacks  in  oils  are  represented  in  the  palette 
for  pottery  by  raven,  ivory  and  iridium  black,  which 
answers  all  purposes. 

If  these  blacks  fail,  others  can  be  composed  by 
mixtures  of  simple  colors,  as  dark  reds  and  dark 
blues.  It  would  be  better  to  operate  in  two  firings 
to  avoid  crazing. 

The  use  of  iron  reds  is  not  admitted  on  soft 
paste ;  the  blacks  are  to  be  made  with  iridium 


PICTORIAL  ART. 


69 


black,  which  is  ready  made,  or  with  purple  and 
dark  green.  It  is  rare  that  black  is  needed  for  sub- 
jects painted  on  soft  paste.  It  is  sometimes  used  in 
decoration  for  surrounding  ornaments  with  a  line, 
but  seldom  for  backgrounds,  excepting  on  decora- 
tive vases  of  a  certain  style. 

Greys.— (Third  Group.) 

A  grey  of  some  kind  is  always  obtained  by  mix- 
ing complementary  colors ;  reds  with  greens,  or 
yellows  with  violets,  violet  being  a  combination  ot 
carmine  and  blue. 

The  greys  obtained  by  mixing  greens,  ready  made 
or  composed,  with  carmine  or  purple,  as  required, 
are  very  frequently  used  by  flower  painters. 

Experience  on  this  subject  can  only  be  acquired 
by  continual  trials. 

Dove  Color. — Dove  color. 

Ash  Grey — Light  grey  used  lightly,  and  a  touch 
of  sky  blue. 

Pearl  Grey — Pearl  grey  No.  6. 
Russet  Grey — Warm  grey. 
Brown  Grey — Grey  and  sepia. 


THE  SECRET  OF 


MONOCHROME   PAINTING    ON  PORCE- 
LAIN OR  EARTHENWARE. 

E  now  come  to  painting. 

I  generally  make  my  pupils  begin  on  porce- 
lain by  a  plate,  and  on  earthenware  by  a  tile. 

If  the  pupil  has  had  no  practice  either  in  water 
colors  or  in  oils,  if,  in  a  word,  she  has  no  idea  as 
yet  of  setting  a  palette,  I  make  her  undertake  a 
monochrome,  that  is  to  say,  a  painting  done  with 
one  color  only,  heightened  by  one  or  two  other 
tones. 

Monochromes  are  made  in  the  following  tints: 
Grisailles,  green,  blue  green,  blue,  violet  of  iron, 
carmine,  purple,  capucine  red,  sepia,  red  brown,  bi- 
tumen. 

Deep  red  brown  and  violet  of  iron  are  the  two 
colors  easiest  to  be  used. 
Grisaille  Monochrome : 

Light  grey  No.  i,  touched  up  with  brown  grey. 
Greys  Nos.  i  and  2 ;  mix  a  little  carmine  No.  I 

to  warm  up  the  tints. 
On  porcelain  the  bodies  of  Cupids  are  often  done 
in  grisaille,  with  a  little  carmine  at  the  ex- 
tremities. 

Green  :    Emerald-stone  green  and  deep  green. 


PICTORIAL  ART. 


7* 


Blue  Green  :    Blue  green  touched  up  with  the  same 
color. 

Blue: 

Deep  ultramarine  ;  dark  blue  ;  permanent  white. 
Or  common  blue  shaded  with  itself  ;   any  other 
blue  would  spoil  it. 
Violet  of  Iron  :    Violet  of  iron,  and  the  same  with 
a  grey  tint. 

Carmine:  Light  carmine  A  ;  deep  carmine  No.  3. 
Purple :    Deep  purple,  strengthened  by  the  same 

tint  placed  at  the  second  firing. 
Capucine  Red : 

Capucine  red  ;  orange  red  ;  sepia. 
Or  orange  yellow  and  capucine  red  in  juxta- 
position ;  the  capucine  red  touched  up  with 
red  brown. 

Sepia :    Sepia,  touched  up  with  the  same  shade. 
Red  Brown  : 

Orange  yellow  for  light  and  distant  tints  ;  the 
foreground  deep  red  brown. 

Or  deep  red  brown  heightened  with  bitumen. 
Or  else  deep  red  brown  and  sepia. 

Bitumen :    Yellow  brown  ;  brown  No.  3  bitumen  ; 
brown  No.  4  or  17. 

The  design  having  been  traced  on  to  the  por- 
celain or  china,  you  take  the  tube  of  color  and  un- 
cork it  with  care.  Squeezing  out  the  color  from  the 
extreme  bottom  of  the  tube,  you  set  about  the  tenth 
part  of  its  contents  on  your  glass  palette,  which 
should  be  extremely  clean.     Grind  it  with  the 


n 


The  secret  of 


palette  knife  (of  steel  or  of  ivory,  according  to  the 
color),  for  about  a  minute. 

Sketching  in,  is  done  with  the  finest-pointed  of 
your  brushes,  dipped  lightly  into  the  little  bottle  of 
spirits  of  lavender,  then  filled  with  a  little  of  the 
color  taken  from  the  edge  of  the  lump,  turning  the 
brush  meanwhile  between  your  fingers  to  get  a  fine 
point.  It  is  better  still  to  work  with  the  color  di- 
luted with  water  and  with  the  addition  of  a  little 
dextrine,  which  gives  it  the  advantage  of  resisting 
the  oils  Indicate  lightly  the  nose,  the  mouth,  the 
lachrymals  a  little,  as  well  as  between  the  fingers. 
It  will  be  useless  to  efface  this  sketch. 

You  will  then  begin  to  paint  the  head,  taking  a 
larger  brush  to  spread  the  color  broadly  and  quick- 
ly. Still  very  little  medium.  Put  a  rather  light 
local  tint  ;  while  the  color  is  still  wet  deepen  the 
tone  beneath  the  arch  of  the  eyebrows,  the  cheeks, 
the  extremety  of  the  chin,  and  the  parts  to  be 
shaded,  taking  care  meanwhile  to  leave  out  the 
bright  lights,  or  those  reflected,  which  should  re- 
main of  the  first  tint,  in  order  that  the  shadows  may 
give  an  appearance  of  roundness.  Take  next  a 
small  dabber,  with  a  flat  top,  and  holding  it  per- 
pendicularly, dabble  lightly  before  the  color  has 
time  to  dry.  Soften  and  mix  well  the  two  tints, 
keeping  them  distinct  the  while. 

Do  the  hair  after  the  flesh  tints  have  been  laid 
on,  toning  the  locks  more  or  less.  Here,  however, 
no  more  dabber ;  on  the  contrary,  the  strokes  of  the 
brush  must  appear  and  mark  the  hair. 


PICTORIAL  ART. 


73 


Pass  on  to  the  drapery,  and  wash  in  broadly  the 
principal  shadows  with  a  still  larger  brush.  It  will 
be  effective  to  preserve  the  white  of  the  porcelain 
or  china  for  the  lights  of  the  draperies.  In  the  first 
painting  spirits  of  lavender  are  used,  so  that  the 
color  may  dry  less  quickly.  You  must  not  be  afraid 
to  paint  the  drapery  with  large  strokes  of  the  brush, 
the  effect  is  all  the  better  for  it.  Above  all,  let 
there  be  no  harsh  or  dry  marks  ;  in  painting  there 
are  no  marks,  but  shadows  and  lights. 

Before  retouching,  the  painting  must  be  allowed 
to  dry,  and  the  medium  to  evaporate,  and  you  must 
not  work  again  on  it  unless,  lightly  placing  the  tip 
of  your  finger  on  the  painting,  you  feel  scarcely  any 
dampness  left ;  some,  however,  must  remain,  for  the 
color  would  easily  be  removed  by  retouching,  if  it 
were  in  a  pulverized  state.  The  desiccation  can  be 
hastened  by  heating,  either  at  a  lamp  of  spirits  of 
wine,  or  in  an  oven  ;  but  you  must  wait  until  the 
piece  is  quite  cold  again  before  resuming  your  work. 

The  first  painting  must  be  taken  great  care  of 
and  kept  very  clean.  While  it  is  drying,  it  should 
be  placed  out  of  the  reach  of  dust  and  damp  ;  if  it 
be  a  plaque,  place  it  in  a  flat  box  with  a  proper  lid 
to  it,  shutting  hermetically. 

M.  Lacroix's  colors  being  perfectly  well  prepared, 
we  will  not  dwell  upon  the  disadvantages  offered  by 
the  former  badly  ground  colors.  The  inexperienced 
beginner  used  to  put  too  much  '  fat  '  or  too  much 
spirits  of  lavender.  In  the  former  case  the  painting 
crazed  in  the  firing ;  it  was  lost.    With  too  much 


74 


THE  SECRET  OF 


spirits  of  lavendar  the  colors  ran  ;  fled  in  the  firing^ 
Therefore  there  must  be  no  excess,  but  the  three 
mediums  must  be  used  with  management  and  dis- 
cretion. 

When  you  retouch  your  painting,  before  the  first 
firing,  you  must  model  by  retouching  with  flat  tints, 
and  you  must  do  it  very  soberly,  very  lightly,  not  to 
remove  what  is  underneath  ;  work  almost  dry,  that 
is,  without  much  soaking  the  brush  in  the  spirits  of 
turpentine.  If  the  color  does  not  spread  easily,  the 
brush  is  wetted  with  the  least  possible  quantity  of 
oil  of  turpentine,  a  drop  of  which  has  been  poured 
on  the  palette.  Spirits  of  lavender  are  of  no  use 
for  this  second  performance. 

To  finish  the  monochrome  completely,  it  is  neces- 
sary to  stipple  the  shadows,  using  very  little  rectifi- 
ed spirits  of  turpentine.  If  the  beginner  will  mas- 
ter thoroughly  the  shadows  of  the  original,  she  will 
not  find  it  more  difficult  to  paint  in  monochrome, 
than  to  reproduce  a  drawing  either  in  black  chalk  or 
in  stump  ;  the  brush  will  take  the  place  of  the  stump 
or  chalk  ;  the  only  difficulty  that  can  arise  being  in 
the  use  of  the  mediums,  and  in  the  lack  of  time  for 
allowing  the  painting  to  dry. 

I  repeat  it  again,  for  it  is  of  great  importance, 
that  with  the  colors  of  M.  Lacroix  one  can  work 
almost  dry,  once  the  palette  has  been  set. 

When  the  work  is  finished  it  is  submitted  to  the 
firing,  either  at  home  (by  the  Gabelle  process)  or  at 
a  decorator's.  According  to  the  result  obtained^ 
the  parts  which  lack  vigor  are  retouched. 


PICTORIAL  ART. 


IS 


In  general  few  raised  lights  or  reliefs  are  em- 
ployed Yet  in  accessories,  they  heighten  advan- 
tageously the  brilliancy  of  the  painting.  The  paint 
for  raised  lights  is  taken  from  the  palette  in  a  par- 
ticular way ;  the  brush  must  lift  up  a  lump  of  color 
at  the  point,  that  it  may  be  laid  on  the  easier. 
Raised  lights  are  placed  on  Mnall  flowers,  on  jewel- 
ry, pearl  necklaces,  etc.  A  light  in  the  eye  is  often 
marked  with  permanent  white,  but  it  should  be  used 
in  great  moderation,  and  placed  at  the  second  firing. 

Photographs  from  casts,  medals,  or  bas-reliefs 
afford  excellent  models  for  copying  in  monochrome 
painting.  Copies  of  photographs  on  oval  plaques 
are  done  with  red  brown  heightened  with  bitumen. 
Raphael's  female  figures  on  plaques  for  sconces  are 
copied  in  light  grey,  retouched  with  brown  grey,  on 
a  ground  of  very  light  carmine  No.  I. 


76 


THE  SECRET  OF 


PAINTING  THE  HEAD  IN  COLORS  ON 
PORCELAIN. 

ET  on  your  palette,  at  intervals  of  about  an 
inch,  some  ivory  yellow,  yellow  brown,  flesh 
No.  I,  flesh  xio,  2,  light  grey,  brown  108,  blue  green, 
and  the  other  colors. 

The  drawing  having  been  traced  with  chalk,  you 
proceed  to  sketch  it  in,  which  should  always  be  done 
in  the  same  color. as  the  object.  For  the  flesh  take 
some  flesh  No.  I  at  the  tip  of  your  brush,  and  indi- 
cate very  lightly  the  outline  of  the  eyes,  the  nostrils, 
the  corners  of  the  mouth,  and  the  ears  ;  but,  above 
all,  take  care  not  to  make  any  line  all  round  the 
face,  as  the  effect  produced  in  the  firing  would  be 
detestable.  Paint  likewise  the  face,  the  neck,  and 
inside  the  fingers,  but  especially  not  on  the  side  of 
the  light,  which  must  detach  itself  by  the  local 
tint  only. 

With  the  ivory  knife  mix  one-third  flesh  No.  I 
with  two-thirds  ivory  yellow  ;  this  forms  the  flesh 
color  for  the  local  tint.  Prepare  also  a  little  yellow 
brown  for  the  reflected  lights.  These  two  tints  are 
to  be  applied  almost  simultaneously,  one  next  to 
the  other.  Commence  always  from  the  top  of  the 
head,  and  only  when  the  sketched  outline  is  dry> 
otherwise  the  local  tint  will  remove  it.    This  tint 


PICTORIAL  ART. 


77 


must  be  laid  on  very  thin  ;  apply  it  quickly  with 
precision  and  without  deviation  of  the  brush,  that 
is,  without  discontinuation  of  tint  ;  look  at  the  china 
sideways,  and  if  the  color  is  deficient  in  any  place 
remedy  that  at  once.  Finally,  the  tints  are  made 
even  by  dabbing,  and  the  flesh  color  is  gently  blend- 
ed with  the  yellow  brown  by  means  of  a  very  smalj 
fitch-brush. 

For  faces  high  in  color,  yellow  browns  should  be 
used  with  the  reds  and  some  violet  of  iron. 

While  the  first  tint  is  still  wet,  and  before  dabb- 
ling, the  flesh  color  should  be  strengthened  with 
some  flesh  No.  I  beneath  the  arch  of  the  eyebrows, 
the  cheeks,  and  the  lower  part  of  the  chin. 

Cast  shadows  are  commenced  with  yellow  brown 
and  retouched  with  brown  108.  Strong  shadows 
are  made  of  violet  of  iron,  and  the  edges  of  blue 
green  and  light  grey. 

Paint  the  lips  with  flesh  No.  i,  retouch  with. No. 
2,  but,  above  all,  let  there  be  no  outline  either  to  the 
upper  or  to  the  lower  lip  ;  nothing  but  a  soft,  flat, 
pale  tint,  strengthened  a  bit  for  the  shadow. 

Blue  eyes  are  made  with  sky  blue  and  a  minimum 
of  blue  green  retouched  with  blue  grey.  Brown 
eyes,  with  yellow  brown  retouched  with  sepia  or 
bitumen.  The  pupil,  raven  black.  The  sparkle  is 
left  white,  or  is  laid  on  with  a  dab  of  permanent 
white. 

Fair  hair  is  begun  with  ivory  yellow  The  shad- 
ows are  made  with  yellow  brown  and  brown  108 
graduated,  and  they  terminate  with  grey  and  bitumen. 


78 


THE  SECRET  OF 


Colored  draperies  are  begun  like  the  draperies  in 
monochrome  ;  a  flat  general  tint  touched  up  again 
at  once  with  the  same  tint  to  give  strength  to  the 
shadows.  There  is  nothing  prettier  than  pink 
drapery  shaded  with  blue,  and  yellow  shaded  with 
pink  or  capucine  red.  White  drapery  is  begun  with 
an  extremely  light  grey  mixed  with  green.  Whites 
are  reserved,  that  is— the  greatest  possible  part  of 
the  china  is  left  bare  without  paint  to  form  the 
lights 

The  beginner  will  do  well,  if  she  paints  a  subject 
with  several  figures  in  it,  to  ascertain  which  colors 
throw  back  and  which  bring  forward.  In  the  fore- 
ground, light  colors  ;  white,  pink,  light  blue,  lilac. 
In  the  middle  ground,  blue,  green,  purple,  and  red 
are  used.  For  the  background  there  are  dark  blue, 
brown,  and  dark  green. 

The  ground  is  made  with  ivory  yellow  (for  the 
lights),  bitumen,  grey,  and  a  little  violet  of  iron. 
Trunks  of  trees  are  begun  with  yellow  grey,  green- 
ish grey,  and  bitumen. 

The  palette,  set  complete  for  figure  subjects,  in- 
cludes the  following  colors  : — Chinese  white,  sky 
blue,  light  sky  blue,  dark  blue,  deep  ultramarine, 
Victoria  blue,  blue  No.  29  (special  for  porcelain, 
scales  on  earthenware),  brown  No.  3,  bitumen, 
brown  No.  4  or  17,  yellow  brown,  deep  red  brown, 
sepia,  light  carmine  A,  carmine  No.  2,  deep  car- 
mine No.  3,  light  grey  No.  1,  grey  No.  2,  neutral 
grey,  russet  or  warm  grey,  silver  yellow,  permanent 
yellow,  ivory  yellow  (47  of  Sevres),  yellow  for  mix- 


PICTORIAL  ART. 


79 


ing  (41  of  Sevres),  crimson  .  lake,  raven  black, 
iridium  black, ^yellow  ochre,  purple  No.  2,  crimson 
purple,  deep  purple,  capucine  red,  flesh  No,  1,  flesh 
No.  2,  deep  flesh,  orange  red,  grass*green  No.  5, 
brown  green  No.  6,  dark  green  No.  7,  deep  blue 
green,  deep  chrome*  green,  apple  green,  sap  green, 
violet  of  iron,  light  violet  of  gold. 


80  THE  SECRET  OF 


STYLE  OF  BOUCHER,  FLOWERS,  FRUITS, 
BIRDS,  AND  LANDSCAPE  ON 
PORCELAIN. 

Style  of  Boucher. 

oj^O  paint  the  style  of   Boucher   (Cupids)  you 
begin  by  transferring  your  design   on  the 
china. 

Then  you  sketch  with  flesh  No.  I  the  lines  of  the 
face,  and  the  fingers  and  toes.  When  this  sketch 
is  dry,  the  reflected  lights  are  marked  with  yellow 
brown  mixed  with  ivory  yellow. 

The  local  tint  of  flesh  color  is  laid  on  immedi- 
ately after,  the  same  as  in  the  preceding  lesson  ; 
the  dabbling  evens  the  two  colors  placed  side  by 
side,  and  blends  them  one  into  the  other.  Let  it 
dry,  then  heighten  by  half  a  tone  the  extremities  of 
the  hands,  feet,  knees,  &c  Sketch  in  the  hair  and 
accessories,  the  clouds  and  background,  while  the 
local  tint  is  drying, 

Retouching. — When  the  first  painting  has  lost 
nearly  all  its  moisture,  return  to  it  again  ;  work  the 
shadows  by  stippling  some  brown  No  17  mixed 
with  sepia,  yellow  ochre,  light  grey,  and  a  touch  of 
blue  green  for  the  transparent  parts.  Where  the 
flesh  is  brown  the  reflected  lights  are  made  with 
yellow  ochre  throughout,  and  the  scale  of  browns 


PICTORIAL  ART. 


81 


is  more  used.  A  touch  of  violet  of  iron  warms  up 
the  shadows  and  approaches  nearer  to  Vandyke 
brown  in  oils. 

Flowers. 

To  paint  flowers  well  it  is  necessary  that  the 
drawing  should  be  exceedingly  correct  and  sober  in 
its  lines,  for  the  tints  having  to  be  very  light  and 
very  pure,  too  many  pencil  marks  would  injure  the 
painting.  The  little  details  of  the  petals  are  done 
with  the  brush,  without  previous  tracing.  The  pen- 
cil must  only  mark  the  leafs  contour  and  central 
vein ;  the  direction  of  the  brush  strokes  is  enough 
to  indicate  the  smaller  veins. 

A  general  rule  for  the  manipulation  of  the  brush 
in  flower  painting  may  be  laid  down  thus: — The 
handling  is  always  done  the  way  of  the  petals,  con- 
verging towards  the  centre.  The  leaves  composing 
a  rose  do  not  round  well  unless  the  brush  has  been 
directed  with  a  circular  motion. 

Leaves. — Each  plant  possesses  a  particular  kind 
of  leaf,  and  even  in  the  rose  the  leaves  of  different 
varieties  are  not  alike  Thus,  for  the  leaves  of  the 
Bengal  rose:  a  semi-bright  tint,  a  shiny  appear- 
ance without  many  veins,  the  young  shoots  tinged 
with  carmine,  or  else  purple  mixed  with  silver  yel- 
low. The  king's  rose :  the  leaves  of  this  rose  are 
of  a  darker  green  than  the  preceding  ;  they  are  done 
with  grass  green  No.  5  ;  the  edges  of  the  older 
leaves  become  somewhat  russet,  the  young  shoots 
light  green.  Red  rose  :  the  leaves  deep  green, 
(6.) 


82 


THE  SECRET  OF 


heightened  with  brown,  the  veins  dark  green  No.  7, 
the  serrations  carmine  red,  the  fading  leaves  have  a 
reddish  brown  hue.  Yellow  roses  :  shiny  leaves  in- 
clining to  blue  green,  retouched  with  grey  mixed 
with  grass  green  ;  the  deeper  tints  made  with  dark 
green  No.  7.    Do  not  use  this  last  color  too  freely. 

Leaves  have  a  direction  ;  to  paint  them  properly 
you  must  begin  them  from  the  top,  that  is,  from 
the  stalk  end.  Half  the  leaf  is  painted  at  a  time, 
from  the  principal  vein  to  the  edge,  making  the 
brush  twist  in  such  a  manner  that  the  brushmarks 
and  ridges  done  in  the  handling  may  represent  the 
secondary  veins.  The  leaves  of  bulbs  are  painted 
from  the  top  downwards  ;  so  are  the  leaves  of 
heartsease.  The  leaves  of  nasturtium  are  made  al- 
most of  a  flat  tint,  converging  to  the  centre,  which 
is  a  light  spot  ;  their  color  is  a  very  light  blue 
green,  shaded  with  grey. 

You  must  not  be  afraid  to  mix  purple  or  carmine 
with  green  to  shade  foliage. 

Fruit. 

This  style  is  done  indiscriminately  on  porcelain, 
earthenware,  enamel,  and  faience.  It  is  very  easy  ; 
the  essential  point  is  to  match  well  the  different 
shades  of  color  arid  to  lay  them  one  over  the  other 
while  they  are  still  wet.  The  softener  flattens  them 
and  helps  the  tints  to  mingle.  Leaves  are  not  dab- 
bled, nor  are  the  stalks. 

To  describe  in  detail  the  manner  of  painting 
divers  fruit  would  take  too  long,  and  would,- in  truth, 


PICTORIAL  ART. 


83 


have  very  little  interest.  We  shall  limit  ourselves 
to  one  example. 

Painting  of  a  Peach  — Flat  yellow  tints,  gradu- 
ated into  green,  and  mixed  with  grey  in  the  shadow. 
Dabble  carefully.  Be  careful  to  add  more  oil  to  the 
red  part,  which  is  softened  afterwards  very  easily 
with  a  dabber,  and  red  blending  freely  with  its 
neighboring  color  from  the  effect  of  the  oil. 

Birds. 

On  faience  birds  look  very  well.  They  are  also 
done  on  porcelain  to  imitate  Saxony  ware. 

There  is  nothing  particular  to  be  said  about  bird 
painting.  With  regard  to  fancy  birds,  the  merit  con- 
sists in  the  servile  copy  of  ancient  and  exotic  types. 
Good  examples  of  natural  birds  are  not  scarce. 
General  information  sufficient  for  the  use  of  the 
colors  will  be  found  in  our  lessons. 

Landscape. 

Landscape  is  not  traced  ;  it  is  drawn  very  lightly, 
so  that  the  pencil  may  form  no  obstacle  to  the 
painting. 

This  is  how  the  painting  is  proceeded  with  : — 
On  a  square  ground-glass  slab  of  moderate  size 
set  your  '  palette'  with  green  tints  in  the  following 
order  :  yellow  for  mixing,  yellow  ochre,  apple  green, 
grass  green,  chrome  green,  blue  green,  brown  green, 
dark  green,  sepia,  bitumen,  violet  of  iron,  &c.  Take 
care  to  leave  a  space  of  about  three-quarters  of  an 
inch  between  each  color,  in  order  to  be  able  to  mix 


34 


THE  SECRET  OF 


them,  for  they  ought  not  to  be  used  pure :  the  effect 
would  be  bad  and  inharmonious. 

Commence  by  the  sky,  using  sky  blue  and  exces- 
sively light  ultramarine  ;  the  lighter  parts  of  ivory 
yellow,  also  very  thin,  and  the  distance  blue  green 
with  the  slightest  touch  of  carmine.  Skies  are  to 
be  done  with  a  very  large  brush,  and  the  mixing  of 
blue  and  yellow,  which  would  produce  impossible 
green  clouds,  is  to  be  avoided.  Skies  are  worked 
from  left  to  right  ;  they  are  washed  in  very  rapidly, 
covering  also  the  place  for  the  trees.  A  dabber  may 
be  used  after. 

The  sky  being  dry,  the  tfees  are  massed.  Inas- 
much as  light  tints  would  disappear  in  the  firing  if 
they  were  put  beneath  dark  colors,  fresh  tints  of 
apple  green  are  commenced  first,  which  are  re- 
touched or  darkened  at  once  before  dabbling.  When 
these  tints  have  been  laid  and  are  dry,  the  foliage  is 
done  by  manipulating  the  brush  from  left  to  right 
with  little  strokes  close  together,  to  imitate  the 
leaves.  Autumn  tints  are  preferable  to  greens 
that  are  too  bright.  You  obtain  them  by  sepia  and 
the  ochres.  Trunks  of  trees,  light  grey  and  sepia 
Branches,  bitumen.  For  strengthening  touches 
use  violet  of  iron. 

Houses,  ivory  yellow  mixed  with  grey ;  shadows, 
violet  of  iron.  Ground,  the  lights  of  ivory  yellow, 
and  some  times  yellow  ochre  ;  shadows,  bitumen  ; 
strong  tints,  brown  mixed  with  black.  Water  is 
done  with  very  light  blue  green,  retouched  with 


Pictorial  art. 


grey,  and  occasionally  revived  with  fresher  green  to 
reflect  grass  or  trees. 

Strengthening  "touches  are  given  at  the  second 
firing,  and  a  glaze  is  passed  over  the  tints  altered  in 
the  first  firing. 


86 


THE  SECRET  OF 


USE 

acroix'a  ^namel  ^olora. 

FOR  PAINTING  ON 

Glazed  China  or  Earthenware 


GROUND  IN  FAT  OIL  OF  TURPENTINE,  AND  READY 
FOR  USE  LIKE  OIL  OR  MOIST  COLORS.    IN  COM- 
PRESSIBLE   TUBES.       DOUBLE  SIZE. 


These  paints  range  in  price  from  30  to  90  cents 
each,  excepting  those  marked  with  a  star,  which 
are  derived  from  rare  or  precious  metals,  and  are 
necessarily  at  a  higher  price. 

Raven  Block  (Noir  corbeau.) 

Ivory  Black  (Noir  d'ivoire.) 

*Iridium  Black  (Noir  d'iridium.) 

Blue  No.  29,  special  for  earthenware,  scales  on 
porcelain  (Bleu  No.  29.) 

Dark  Blue  (Bleu  fonce.) 

Deep  Blue  (Bleu  riche.) 

Deep  Ultramarine  (Bleu  outremer  riche.) 

Light  Sky  Blue  (Bleu  ciel  clair.) 

Sky  Blue  (Bleu  ciel  azur.) 

Victoria  Blue  (Bleu  Victoria.) 

Brown  No.  3  (Brun  3,  bitume.) 


PICTORIAL  ART. 


Brown  No.  4  or  17  (Brun  4  fonce  ou  17.) 

Brown  M  or  108  (Brun  ou  108.) 

Dark  Brown  (Brun  fonce.) 

Deep  Red  Brown  (Brun  rouge  riche.) 

Light  Brown  (Brun  clair.) 

Sepia  (Brun  sepia.) 

Yellow  Brown  (Brun  jaune.) 

Light  Carmine' A' (Carmin  tendre  A.) 

Light  Carmine  No.  1  (Carmin  tendre  No.  I.) 

Carmine  No.  2  (Carmin  No  2.) 

Deep  Carmine  No  3  (Carmin  No.  3  fonce.) 

Carnation  No.  1  (Rouge  chair  No.  1.) 

Carnation  No,  2  (Rouge  chair  No  2.) 

Carnation  Deep  (Rouge  chair  fonce) 

Flux  (Fondant  general.) 

Grass  Green  No.  5  (Vert  No.  5,  pre.) 

Brown  Green  No.  6  (Vert  No.  6,  brun.) 

Dark  Green  No.  7  (Vert  No.  7,  noir.) 

Green  No.  36  T  (Vert  No,  36  T.) 

Apple  Green  (Vert  pomme.) 

Deep  Blue-Green  (Vert  bleu  riche.) 

Chrome  Green  3  B  (Vert  chrome  3  B  ) 

Deep  Chrome-Green  (Vert  chrome  riche.) 

Deep  Green  (Vert  russe.) 

Emerald  stone  Green  (Vert  emeraude.) 

Sap  Green  (Vert  de  vessie.) 

Grey  No.  1,  light  (Gris  No.  1  ou  tendre.) 

Grey  No.  2  (Gris  No.  2.) 

Pearl  Grey  No.  6  (Gris  No.  6  Perle.) 

Neutral  Grey  (Gris  noir.) 

*Platina  Grey  (Gris  de  platine.) 


88 


THE  SECRET  OF 


Warm  Grey  (Gris  roux.) 
Dark  Ochre  (Ocre  fonce.) 
Yellow  Ochre  (Ocre.) 
Purple  No.  2  (Pourpre  No.  2.) 
Crimson  Lake  (Laque  carminee.) 
Crimson  Purple  (Pourpre  cramoisi.) 
Deep  Purple  (Pourpre  riche.) 
Ruby  Purple  (Pourpre  rubis.) 
Capucine  Red  (Rouge  capucine.) 
Laky  Red  (Rouge  laqueux.) 
Orange  Red  (Rouge  orange.) 
Relief  (Relief.) 

Deep  violet  of  Gold  (Violet  d'or  fonce.) 

Light  Violet  of  Gold  (Violet  d'or  clair.) 

Violet  of  Iron  (Violet  de  fer. ) 

Grey  Violet  of  Iron  (Violet  de  fer  teinte  grise.) 

Chinese  White  (Blanc  chinois.) 

Permanent  White  (Blanc  fixe.) 

Ivory  Yellow  (Jaune  d'ivorie,  47  de  Sevres.) 

Jonquil  Yellow  (Jaune  jonquille.) 

Yellow  for  mixing  (Jaune  a  meler,  41  de  Sevres.) 

Orange  Yellow  (Jaune  orange.) 

Permanent  Yellow  (Jaune  fixe.) 

Silver  Yellow  (Jaune  d'argent.) 

Uranium  Yellow  (Taune  d'urane.) 


PICTORIAL  ART. 


89 


COLORS    FOR    GROUNDS    ON  GLAZED 
CHINA   IN   TUBES,  LIKE 
THE  ABOVE. 


THESE  WILL  NOT  BEAR  MIXING,  AND  ARE  AVAIL- 
ABLE FOR  GROUNDS  ONLY. 


Celestial  Blue  (Bleu  celeste  ) 
Indian  Blue  (Bleu  indien.) 
Lavender  Blue  (Bleu  Lavende.) 
Marine  Blue  (Bleu  marin  ) 
Reddish  Brown  ^Brun  mordore.) 
Shammy  Brown  (Chamois.) 
Carmelite  (Carmelite.) 
Celadon  (Celadon.) 
Light  Coffee  (Cafe  au  lait.) 

Chromium  Water-Green  (Vert  d'eau  au  chrome.) 

Copper  Water-Green  (Vert  d'eau  au  cuivre.) 

Grounding  Green  (Vert  pour  fonds.) 

Steel  Grey  (Gris  d'acier.) 

Turtle-Dove  Grey  (Gris  tourterelle.) 

Isabella  (Isabelle.) 

Fusible  Lilac  (Lilas  fusible.) 

Maize  (Mais  ) 

Mauve  (Mauve.) 

Coral  Red  (Corail.) 

Rose  Pompadour  (Rose  Pompadour.) 

Salmon  (Saumon) 


go 


THE  SECRET  OF 


Turquoise  Blue  (Turquoise  bleu.) 
Turquoise  Green  (Turquoise  Vert.) 
Chinese  Yellow  (Jaune  chinois.) 
Gold  Bud  (Bouton  d'or.) 

Enamel  Colors  in  Powder. 

A  full  assortment  of  the  best  English  and  Ger- 


man Dry  Colors  always  on  hand* 

Prepared  Gold  $1.00 

Liquid  Gold,  per  bottle   i.oo 


Mediums  for  Painting  on  China. 

.  Lacroix's  dist.  rect.  spirits  turpentine,  bottle.  .  .  .25c 

"       thick  oil  of  turpentine,  bottle  50c 

"       spirits  of  lavender,  bottle  50c 

"       spirits  of  cloves,  bottle   .75c 


Test  Slab  of  Lacroix's  Over-Glaze  Colors. 

With  32  useful  colors  burnt  in,  showing  their  ac- 
tual depth  after  firing,  and  with  names  attached. 
This  slab  gives  the  facility  of  selecting  the  colors 
which  may  be  most  useful  for  the  work  in  hand. 
Price,  each  $2.  00 


All  Lacroix's  colors  will  fire  well  on  Porcelain 
Plaques,  with  exception  of  Blue  No.  29,  plain  Light 
Brown,  plain  Dark  Brown,  which  will  answer  on 
ordinary  earthenware  only. 


PICTORIAL  ART.  91 


Whirling  Tables. 

For  describing  circles  and  curves,  for  lining  the 
edges  of  plates,  mouldings  of  vases,  etc. 

Small  size,  to  be  placed  on  table  $4.00 

Large  size,  with  iron  pillar,  to  stand  on  floor. .  7 .  50 
French  Polished  Mahogany  Box,  for  26  colors  1  75 
"  "  "       Chest,  for  32  colors  2.75 


China  Color  Palette,  for  Painting  on  China. 

With  cover,  and  21  recesses  for  holding  colors. 
Very  useful  for  keeping  the  colors  clean. 
Price  ;  $1.25 


Ground  Glass  Slabs,  and  Mullers  for  Grinding 
Dry  Colors,  Brushes,  expressly   made  for  China 
Painting,  Palette  Knives,  etc.,  etc. 
Outfits  for  China  Painting  arranged  on  application. 


Tile  Holders,  for  hanging  6x6  inch  tiles,  each.  .  10c 
"       "       "        8x8    "      "       "  ..15c 


Plates  for  Head  and  Figure  Painting. 

Dresden  China  Plates,  [square,  round  corners, 

convex  and  flat  surfaces]  

Dresden  China  Pendants,  oval  

In  large  variety  of  sizes. 


92 


THE  SECRET  OF 


Fine  English  China  Slabs  for  Landscape 
Painting. 


3^  inch  x  2  inch,  each  30 

inch  x  4^  inch,  each  75 

4^  inch  x  2  inch,  each  .  40 

5%  inch  x  7 inch  each. .  $1 . 00 

5j^, inch  x  3  inch,  each  50 

8J£  inch  x  6)^inch,  each  "  $1.25 


China  Horseshoes,  for  decorating. 

China  Sleeve-buttons,  for  decorating. 


English  Glazed  Tiles. 

8,  6,  4,  and  three  inches  square,  white  and  in 

a  variety  of  tints  t  

3x0  inch  white  tiles  

Also,  Plaques  of  different  sizes. 

Firing  Generally  Done  Once  or  Twice  a 
Week. 

Average  Price  for  Firing  Decorated  Ware. 


Cup  and  Saucer  , . .     .  20@  .  25 

6  Cups  and  Saucers  [12  pieces]   .75 

1  dozen  Ind  Butters.  6o@  .75 

Plates,  single  io@  .  1 5 

1  dozen  Plates,  75                             $i.oo@  1.25 

Covered  Dishes,  25  50®  .75 


Other  pieces  according  to  size.  Tiles  10  to  15 
cents  each,  according  to  size. 


PICTORIAL  ART. 


93 


Gilding  included,  double  the  above  prices,  except 
small  pieces. 

Not  answerable  for  breakage,  but  the  utmost  care 
will  always  be  exercised. 


94 


THE  SECRET  OF 


WAX  FLOWERS. 


HOW  THEY  ARE  MANUFACTURED  — ITS  PRO- 
GRESS, MATERIALS  USED,  ETC. 


AX  art  was  supposed  to  have  reached  the 
height  of  perfection  many  years  ago.  But 
since  the  invention  of  the  various  machines  for  cut- 
ting and  molding  designs  into  form  from  wax,  the 
rapidity  with  which  the  work,  is  executed,  and  the 
endless  variety  of  artistic  productions  in  wax  art,  it 
is  evident  perfection  has  not  yet  been  reached,  and, 
we  are  led  to  believe,  it  susceptible  of  attaining 
a  still  higher  degree  of 'excellence.  The  reason  of  its 
being  taught  so  little  during  the  past  few  years  is 
owing  principally  to  the  fact  of  its  simplicity  since  the 
use  of  molds  and  cutters,  so  artistically  arranged 
that  the  form  of  any  desired  leaf  or  flower  may  be 
chiseled  out  at  will,  from  the  varieties  of  colored 
wax  before  you.  In  order  to  obtain  the  leaf  or 
flower  you  want,  send  for  cutters  for  such  flower  or 
leaf,  specifying  size,  of  which  there  are  three  -  small, 
medium  and  large — and  cost  from  ten  to  fifty  cents 
each,  made  of  tin,  and  represent  the  following 


PICTORIAL  ART. 


Q5 


Flowers. 

Camelia,  Cowslip,  Dahlia,  Daisy,  Fish  Geranium, 
Fuschia,  Forget-Me-Not,  Heliotrope,  Honeysuckle, 
Hyacinth,  Jasmin,  Lilac,  Lilly  of  the  Valley,  Moss 
Rose  Calyx,  Myrtle,  Orange,  Pansy,  Passion  Flow- 
er, Pink,  Pond  Lily,  Quaker  Lady,  Rose,  Rose  Ger- 
anium, Sweet  William,  Trailing  Arbutis,  Tube  Rose, 
Verbena,  Violet,  Woodbine,  Wild  Rose. 

The  next  thing  you  need  will  be  the 

Brass  Molds,  for  Leaves, 

consisting  of  a  great  variety  of  beautiful  formations 
from  almost  every  tree  or  shrub  in  Nature's  garden. 
They  cost— Small  size,  10  cents  ;  medium,  15  cents  ; 
large,  30  cents  each.  Among  the  number  you  have 
to  select  from  are- 
Oak  Maple,  Myrtle,  Lily  of  the  Valley,  Ivy,  Wil- 
low, Currant,  Cherry,  Grape,  Orange,  Strawberry, 
Blackberry,  Chestnut,  etc.,  etc.,  etc. 

Wet  the  molds  before  placing  them  in  wax,  to 
prevent  them  from  sticking.  It  will  require  but  a 
little  time  for  you  to  become  familiar  with  the 
method  of  cutting  and  molding  the  leaves  and 
flowers,  and  by  the  aid  of  your  good  judgment  and 
exquisite  taste  you  may  soon  be  able  to  arrange  in 
form  almost  any  leaf  or  flower  you  may  desire  to  see 
produced  in  wax. 

Wires. 

The  wire  used  for  making  the  stems  and  branches 


96 


THE  SECRET  OF 


is  covered  with  silk  or  cotton  and  of  different  colors, 
and  can  be  had  in  coils  or  by  the  spool,  each  spool 
containing  from  20  to  25  yards. 

The  silk,  (white)  per  spool  price,  15c 

(green)  "      "    4*  15c 

Cotton      (white)  "      "    "  15c 

(green)  "      "    "  15c 

Paper  wire,  in  bunches,  per  bunch  15c 

Silver  wire,  on  spools,  (large),  per  spool.  35c  , 

"      "    in  skeins,  per  skein  ..15c 

Steel  Molding  Pins. 

The  molding  pins  are  used  for  molding  and 
changing  the  wax  leaves  and  flowers  into  form  de- 
sired, before  placing  them  upon  the  stem.  They  are 
made  of  steel,  with  glass  and  porcelain  heads. 
Sizes  run  from  1  to  8 ;  Nos.  1  to  7  cost  each,  5 
cents  ;  No.  8  (large),  8  cents. 

Moss 

can  be  had  by  the  package  for  twenty-five  cents 
each,  or  small  sprig  for  moss  rose  sent  in  envel- 
ope for  about  five  cents. 

Miscellaneous  Articles. 

Glass  Shades,  Glass  Balls  for  imitating  Currants, 
Grapes,  Cherries  and  other  fruit,  Small  Sable 
Brushes,  and  Dry  or  Liquid  Colors  for  tinting. 

The  Wax, 

consisting  of  a  great  variety  of  colors,  you  purchase 


PICTORIAL  ART. 


97 


by  the  sheet ;  the  size  of  a  sheet  of  wax  is  3%xSl4 
inches.    A  single  sheet  costs  ten  cents. 

As  the  wax  is  manufactured  in  almost  every  va- 
riety of  color,  it  is  useless  for  one  to  devote  any 
time  or  space  to  the  use  of  paints  or  brushes  in 
making  wax  flowers. 


of  wax  already  in  the  market  are  the  White,  Blue, 
Light  Pink,  Green,  Yellow,  Purple,  Carmine,  Scar- 
let, Variegated. 

Having  given  those  who  desire  to  do  wax  work 
an  outline  of  the  art  in  brief,  with  the  materials 
used,  and  the  method  of  applying  them,  I  leave  the 
rest  with  the  learner,  who  requires  taste  for  the  art, 
and  perseverance  to  acquire  excellence. 


The  Colors 


(70 


98 


THE  SECRET  OF 


PASTEL 


Portrait  Painting, 


From  the  Best  English  Authors. 


'OR  the  past  few  years  a  great  improvement  has 


WJ  been  going  on  in  the  execution  of  portraits, 
in  black  and  colored  crayons.  Crayon  paint 
ing  is  much  easier  in  its  execution  than  oil 
painting,  and  pictures  may  be  completed  at  one 
sitting,  owing  to  the  fact  that  dry  colors  are  used 
instead  of  oil,  which  may  easily  be  removed  or 
changed  at  will,  left  and  resumed  again  at  any  time 
desired.  In  this  department  of  art,  crayon  takes 
the  place  of  brush  and  paint,  in  all  the  different 
places  where  colors  are  used. 

Crayon  painting  is  said  to  have  been  practiced  for 
a  century  or  more  after  it  came  into  use,  and  during 
the  past  few  years  it  has  had  a  "big  run"  all 
through  this  Western  country. 

Crayons,  or  Pastels, 

can  now  be  purchased  by  the  box,  in  all  varieties  of 
tint,  each  box  containing  a  graduated  series. 


— WITH— 


SUGGESTIONS 


PICTORIAL  ART. 


99 


The  Paper, 

upon  which  the  drawing  or  painting  is  made,  is 
manufactured  for  this^  purpose  in  such  a  manner 
that  the  the  texture  becomes  loosened  and  forms  a 
woolly  surface,  which  assists  the  blending  of  the 
tints,  and  receives  the  crayon. 

As  soon  as  a  crayon  picture  is  completed  it  will 
necessarily  have  to  go  under  glass,  for  so  slightly 
tenacious  is  the  crayon,  in  some  places  where  it  may 
have  been  repeatedly  applied  with  a  view  to  bril- 
liancy, that  it  may  be  blown  from  the  surface  of 
the  paper. 

Exposure  to  the  Sun, 

which  may  brighten  pictures  painted  in  oil,  will  in  a 
short  time  destroy  the  delicacy  of  crayon  colors. 
They  must  also  be  kept  free  from  moistute  or  damp- 
ness, as  it  is  sure  to  change  ' the  color  and  produce 
spots  on  the  face  of  a  portrait,  or  the  sky  in  a  land- 
scape. 

Colors. 

The  colors  employedjn  pastel'painting  are  about 
the  same  as  used  in  oil  painting,  with  some  excep- 
tions. The  best  for  crayon  work  are  ^the  fol- 
lowing : 

Oxide  of  Zinc,  White  Chalk,5  Spanish  White, 
Naples  Yellow,  Mineral  Yellow,  Chromes,  Cadmi- 
um Yellow,  Gallstone,  Soft  Red  Chalk,  Chinese 
Vermilion,  Venetian  Red,  Chrome  Red,  Carmine, 
Lakes,  Indigo,  Prussian  Blue,  Smalt,  Cobalt,  Terre 


loo 


THE  SECRET  OF 


Verte,  Cobalt  Green,  Brunswick  Green,  all  the 
Greens  from  Copper,  Green  Oxide  of  Chromium, 
Lampblack,  Umber,  Ivory  Black,  Blue  Black,  Black 
Chalk, 

Color  of  Paper. 

In  regard  to  the  use  of  paper,  any  color  may  be 
used,  it  being  wholly  a  matter  ef  taste  with  the 
artist. 

The  prevailing  colors  are  Blue,  Drab,  Grey, 
Straw,  Buff,  Olive  and  Stone  Colors, 

A  yellowish  tint,  you  will  find,  produces  the  best 
results. 

Mounting  the  Picture. 

Before  commencing  upon  the  drawing  it  must  be 
mounted  upon  a  stretcher,  after  which,  with  a  firm 
crayon,  trace  the  outlines,  with  either  red,  brown, 
or  grey  color.  (The  beginner  will  find  the  Penta- 
graph  of  excellent  service  for  outlining  where  you 
are  working  from  a  copy.    See  page  10.) 

Sketching  in  the  Outlines. 

This  must  be  done  lightly,  in  order  that  the  cray- 
on does  not  enter  into  the  texture  of  the  paper,  so 
as  to  render  the  marks  difficult  to  be  superseded 
subsequently  by  the  necessary  colors.  When  the 
outline  is  completed,  the  breadths  are  made  out  by 
means  of  a  brown  crayon,  and  a  stump,  working  for 
the  degrees  of  shade. 


pictorial  art. 


iot 


Applying  the  Crayon. 

When  the  likeness  is  satisfactory  in  the  sketch, 
the  complexion  may  be  commenced  on,  beginning 
with  the  lights.  The  whites,  yellows,  reds  and  greys 
must  be  worked  in,  and  blended  to  an  imitation  of 
the  reality  of  nature.  From  the  highest  lights,  pro- 
ceed in  regular  order  to  the  deepest  shades,  and,  in 
order  to  secure  substance,  these  must  be  put  in  equal 
in  strength  to  nature  ;  after  which  the  middle  tones 
must  be  carefully  blended,  so  as  to  unite,  the  lights 
and  shades  by  imperceptible  gradations  The  mark- 
ings must  be  definitely  made  out,  and  the  reflexes 
also,  if  there  be  any.  As  the  fresher  tints  occur  prin- 
cipally in  the  lights,  it  would  be  well  to  keep  the 
color  rather  high,  and  of  a  warm  tone,  in  order 
to  reserve  the  brightest  and  most  effective  tints  till 
the  last. 

When  all  the  tints  have  been  laid  in,  and  the 
head  is  in  a  satisfactory  state  as  to  form,  color  and 
expression,  then,  with  the  finger,  pass  over  the 
whole,  working  and  blending  the  colors  in  harmony. 
In  this  operation  the  finger  is  used  instead  of  a 
stump,  and  nothing  else  will  answer  better.  When 
this  operation  is  concluded,  the  crayons  will  be 
again  used  to  bring  up  the  colors,  and  tone  to  those 
of  the  life  to  modify  and  correct  those  which  may 
require  retouching. 

Those  parts  which  are  heavy  must  be  relieved, 
and  those  which  maybe  too  cold  or  too  warm,  must 
be  reduced  to  harmony.    Working  with  the  finger 


102 


THE  SECRET  OF 


will  be  found  the  most  available  method  of  manag- 
ing the  crayons. 

Having  laid  in  the  tints,  according  to  the  natural 
complexion,  it  will  be  necessary,  before  touching 
the  work  with  the  finger  or  blender,  to  be  certain 
that  all  are  laid  in  the  proper  places  ;  a  little  ex- 
perience will  enable  you  to  judge  ;  there  remains 
but  little  work  for  the  fingers  to  perform,  and  the 
less  the  colors  are  worked  upon  the  more  fresh  and 
transparent  they  will  remain. 

Colors  and  the  Composition  of  Tints. 

The  shades  of  flesh  tints  are  warm  or  cold,  ac- 
cording to  the  warmth  or  coldness  of  the  breadths 
of  the  light.  If  the  lights  be  of  a  healthy  hue,  the 
shades  may  be  warm,  inclining  to  brown,  mixed  of 
various  colors,  broken  with  light  red,  carmine,  yel- 
low, blue  or  grey.  Some  artists  represent  nature 
as  violet  or  green,  in  shade  ;  but  this  is  untrue  and 
must  be  guarded  against.  It  is  advisable  generally 
to  follow  the  Italian  feeling  of  leaving  the  dark 
passages  warm.  When  the  complexion  is  strong  in 
color,  the  effect  is  most  agreeable  ;  if  worked  with- 
out hardness,  opacity  or  blackness.  In  feminine 
portraits  the  work  must  be  brought  up  to  the  ut- 
most brilliancy  of  color,  by  the  brightest  and  fresh- 
est hues,  composed  of  White,  Naples  Yellow,  Ver- 
milion and  Madder,  mellowed  with  Yellows,  or 
slightly  purpled  with  Lake  or  Carmine,  according 
to  the  prevalent  tint  of  the  subject.  In  the  mascu- 
line subject  the  colors  will  be  stronger,  and  the 


PICTORIAL  ART. 


10$ 


half  tints  more  positive.  Great* care  must  be  ob- 
served, lest  the  high  and  delicate  passages  be  soiled 
or  stained.  They  must  only  be  approached  by,  and 
blended  with,  other  shades  at  their  extremities  ;  and 
these  shades  are,  in  most  cases,  half  tints. 

It  will  be  clearly  seen  by  the  artist,  that  if  the 
intermediate  tint  be  to  cold,  it  must  be  treated  with 
the  reds  or  yellow  ;  if  too  warm,  reduce  by  grey  or 
blue.  The  lights  and  shades  should  be  carefully 
graduated,  and  harmony  prevail  throughout  the 
work. 

Draperies  and  Background. 

The  draperies,  dress,  &c,  must  be  treated  with 
more  freedom  than  can  be  used  in  the  features,  and 
this  will  contrast  well  with  the  delicate  drawing  of 
the  features. 

Backgrounds.— ¥  ox  backgrounds  there  is  no  es- 
tablished rule  ;  a  head  may  be  relieved  by  a  light, 
or  dark  background,  either  producing  good  effect. 
A  dark  background  is  not  always  suitable  for  female 
loveliness. 

Backgrounds  are  not  to  be  rubbed  in  mechani- 
cally, with  the  idea  that  any  dark  shade  will  relieve 
any  light,  or  that  any  middle  tint  will  suffice.  As  a 
general  rule,  the  background  around  the  head  should 
be  lower  in  tone  than  the  half  tints  of  the  face,  and 
lighter  than  the  shades — to  disengage  the  head. 

Where  the  paper  becomes  greasey  or  glazed  by 
the  too  frequent  application  of  the  pastel,  or  the 
finger,  it  may  be  necessary  to  rub  it  with  pumice 
pounce,  or  with  cuttle-fish,  lightly. 


104  ^HE  SECRET  OF 


If  the  paper  stretches  by  constant  pressure  on  it 
you  can  remedy  it  by  wetting  the  back  with  a  light 
solution  of  alum  water. 


PICTORIAL  ART. 


I°5 


ITALIAN 

Landscape  Painting, 

WITH 

CRAYON  COLORS. 


HE  crayons  used  are  much  harder  than  the  soft 
kind  required  in  portraits  ;  they  are  manufac- 
tured expressly  for  landscapes,  and  resemble  firm 
chalk.  The  following  is  a  list  of  the  most  useful 
crayons:  White,  Italian  chalk;  straw  colors  and 
light  yellow,  blue,  grey,  vermilion  and  Indian  reds  ; 
blacks,  conte  crayons  Nos.  1,  2  and  3.  The  white 
Italian  chalk  is  used  both  for  light  touches  and 
bleeding  all  the  other  crayons  into  which  it  may  be 
worked. 

The  black  conte  chalks  are  also  of  the  utmost 
importance;  Nos.  1  and  2,  the  harder  degrees,  are 
used  for  outlining,  and  the  softest  degree,  No.  3, 
may  be  blended  with  many  colors  to  reduce  their 
tones. 

THE  PAPER. 

The  paper  must  be  a  good  quality  of  drawing 
paper,  such  as  will  take  the  crayon,  and  it  must  sup- 


io6 


THE  SECRET  OF 


ply  a  good  middle  tint,  as  the  color  of  the  paper 
appears  through  almost  every  passage  of  the 
finished  work.  A  soft  paper  of  a  low- toned  olive 
tint,  which  has  been  found  by  long  experience  to  be 
better  adapted  than  any  other  for  landscape  draw- 
ing, as  affording  an  agreeable  neutral,  upon  which 
warm  or  cold  tones,  lights  or  shadows,  may  be 
placed  with  the  best  effect. 

ARRANGING  THE  PAPER. 

Attach  the  paper  to  a  drawing-board  with  thumb 
tacks,  in  order  that  it  may  be  kept  smooth  and 
level  while  the  flat  tints  are  rubbed  in.  It  is  well 
to  select  paper  some  larger  than  your  design  so  as 
to  give  the  picture  a  margin. 

THE  DRAWING. 

With  conte  crayon  No.  i  the  design  must  be  out- 
lined, showing  enough  of  the  objects  to  guide  you 
in  the  flat  tints  of  the  sky  and  distances. 

The  difference  in  the  crayons  used  in  portrait 
and  those  in  landscape  painting  is,  that  the  latter  is 
much  harder,  which  is  essential  as  will  be  seen 
when  applied  to  the  paper.  The  breadths  of  the 
composition  are  not  laid  by  working  with  the  point 
of  the  crayon,  but  a  part  of  the  crayon,  sufficient 
for  the  purpose  required,  is  broken  off  and  applied 
flat  to  the  paper.  Work  it  lightly  over  those  parts 
of  the  drawing  that  it  is  desired  to  tint,  and  the 
lightness  of  the  tint  is  derived  from  the  hardness 
of  the  crayon,  which  is  "bitten"  by  the  surface  of 
the  paper,  and  leaves  on  it  a  quantity  of  the  color. 


PICTORIAL  ART. 


I07 


This  tint  is  rubbed  vigorously  with  the  fingers  so  as 
to  work  the  colors  well  with  the  texture  of  the  pa- 
per ;  as  the  operation  leaves  but  little  color  these 
tintings  are  repeated  until  the  necessary  strength  of 
tone  is  obtained,  varying  and  blending  the 
colors  by  working  them  into  each  other  from 
different  directions  with  the  fingers,  as  the 
subject  may  require;  draw  the  remote  forms 
with  pieces  of  crayon,  held  flat  or  lengthwise. 
Blend  the  tints  in  and  repeat  where  necessary.  The 
distant  ridges  of  the  mountains  being  made  out, 
the  middle  distance  and  the  nearer  objects  are  ap- 
proached by  the  nearer  tints  ;  still  drawing  with 
broken  pieces  of  crayon,  working  obliquely  or 
otherwise.  The  black  conte  Nos.  1  and  2,  are  used 
in  the  near  parts  of  the  picture ;  all  the  striking 
features  of  the  foreground,  such  as  trees,  rocks,  and 
buildings  are  drawn,  and  the  material  used  in  the 
manner  described.  When  any  fine  lines  are  neces- 
sary they  are  not  made  with  the  crayon  cut  to  a 
point,  but  by  the  sharp  edges  of  the  fracture  of  the 
crayon. 

USING  THE  COLORS. 

Each  object  having  been  drawn  in  with  the 
conte  it  is  now  tinted  or  colored  by  working  over 
the  black  markings  with  the  necessary  colors.  It  is 
like  the  operation  of  glazing  in  oil  painting,  as  un- 
der the  light  lines  of  the  tracing  of  the  colored 
crayon  the  conte  drawing  is  still  visible.  By  blend- 
ing and  again  drawing  with  conte,  and  again  glaz- 
ing as  often  as  may  be  necessary,  we  approach  the 


to8 


THE  SECRET  OF 


finish  of  the  picture,  which  is  completed  by  sharp 
touches  of  light  put  in  with  sharp  points  of  the 
broken  ends  of  colored  crayon.  The  color  should 
be  used  sparingly,  and  the  black  chalk  should  ap- 
pear prominent  in  the  drawing.  Do  not  rub  in  the 
colors  in  finishing  or  you  destroy  the  effect.  The 
beauty  of  the  work  depends  upon  the  paper  being 
perceptible  through  the  final  finish.  Any  markings 
too  sharp,  may  be  worked  down  by  the  finger  or 
blender.  These  retouchings  are  repeated  until  the 
desired  effect  be  obtained. 

As  crayon  painting  is  liable  to  become  changed 
or  removed,  even  by  blowing  upon  it,  we  must  pre- 
sent some  method  whereby  it  can  be  fixed  perma- 
nent. 

FIXING  THE  DRAWING. 

Infuse  an  ounce  and  a  half  of  ising-glass  in  five 
ounces  distilled  vinegar  twenty-four  hours  ;  add  to 
this  one  quart  of  hot  water,  keep  at  a  light  heat^ 
stir  often  until  the  ising-glass  is  dissolved,  when  you 
filter  it  through  paper ;  pour  it  into  a  bottle  with 
the  same  quantity  spirits  of  wine,  shake  a  few 
minutes  and  you  have  the  fixatif  ready. 

Place  the  picture  face  down  (avoid  having  the 
colors  touch  anything),  and  apply  the  liquid  to  the 
back  with  a  brush  until  it  has  penetrated  through 
to  the  crayon  and  all  the  colors  become  moistened 
and  bright.  The  first  application  will  penetrate 
very  quick.  After  this  apply  another  with  great 
care  and  evenness,  and  not  so  plentiful  as  at  first. 
When  completed  lay  it  with  face  up  until  dry.  The 


PICTORIAL  ART. 


picture  is  now  completed.  After  this  process  of 
fixing  the  colors,  they  can  be  cleaned  any  time  with- 
out injury  to  the  painting. 

MATERIALS  FOR  PASTEL  DRAWING. 

Crayons    Square  black  conte,  No.  i,  2  and  3 

per  doz   $0  25 

Square  white  crayons,  Nos.  I,  2  and  3,  per  doz .  25 

red        44           44          44          44      ..  25 

H         grey            «                   M                   "                   "          ..  25 

Round  black  conte,  Nos.  I,  2  and  3,  per  doz.  40 

"     white  crayons,                  "        44    .  .  40 

M  red  11  4  1  4  4  4  4  . .  40 
Conte  crayon  pencils  in  wood,  Nos.  1,  and  2, 

per  doz  , ,                  1  00 

Conte  crayon  pencils  in  wood,  No.  3,  per  doz.  1  50 

Charcoal  in  sticks,  per  box  of  50   30 

Best  hard  pastel,  per  doz   25 

44   soft      44    containing  130  shades,  per  box  7  00 

4  4     4  4       4  <           "           44           %    44     1  75 

4  4     4  4       14           44           44           %    14     1  00 

In  round  paper  boxes  containing  1  doz   25 

Crayon  holders,  (brass)   10 

4  4          4  4       (German  silver)   15 

PREPARED  PASTEL  PAPER. 

Royal,  19x25,  per  sheet,  30  cents;  per  doz.,  $3  00 

Super-Royal,  19x25,  per  sheet,  35c  ;  44  3  50 
Double  Elephant,  29x42,  per  sheet,  75  cents  ; 

per  doz                                                    7  50 

Colombier,  24x34,-  per  sheet,  50c  ;  per  doz.. .  .  5  00 


no 


THE  SECRET  OF 


MONOCHROMATIC  BOARDS. 


Wood,  No.  I,  18x23,  per  sheet  75c 

"      "    2,  18x23,       *'   60c 

Heavy,  22x28.  "   85c 

STUMPS. 

Nos  1,  2,  3,  4,  5,  6,  7,  8. 

Chamois  Skin  15  cents  each. 

Cork  15  " 

Paper,  (grey)  8 


PICTORIAL  ART. 


Ill 


IN 

Water  Colors. 


BRIEF  outline  of  painting  in  water  colors  will 
be  all  that  the  small  amount  of  space  in  this 
book  will  admit  of ;  I  will,  therefore,  avoid  all  pre- 
liminary remarks  in  regard  to  the  advantages  of 
this  branch  of  the  fine  arts,  and  direct  you  at  once 
to  the  method  of  treating  it,  in  as  clear  and  com- 
prehensible a  manner  as  possible,  and  at  the  same 
time  omit  nothing  that  will  in  anyway  facilitate  the 
progress  of  the  learner. 

There  are  three  primary  colors  in  nature, — blue, 
red  and  yellow.  By  combining  blue  and  red  we 
have  purple  ;  blue  and  yellow,  make  green  ;  red  and 
yellow,  form  orange. 

INSTRUCTIONS. 

Arrange  the  paper  for  the  painting,  after  spong- 
ing it,  by  stretching  upon  a  drawing  board,  and 
then  turn  to  the  mixing  of  the  colors. 

THE  COLORS  USED  FOR  SKIES  AND  DISTANCES. 

For  blue  of  sky. — Cobalt  Blue,  lowered  with  Pink 


112 


THE  SECRET  OF 


Madder  and  Gamboge,  to  the  hue  required.  Ochre 
may  be  substituted  for  Gamboge. 

Clouds, — The  same  mixed  so  as  to  form  a  variety 
of  warm  and  cool  pearly  greys. 

For  Extreme  Distance  —Cobalt  and  Venetian 
red. 

For  Local  Tints, — Blend  the  colors  so  that  the 
tints  produced  may  incline  toward  yellow,  red  or 
any  tint  required. 

For  middle  tints,  use  Indigo,  Pink  Madder  and 
Ochre,  on  the  same  principle  for  the  light  parts  ;  and 
Indigo,  Pink  Madder  and  Gamboge  for  the  shady 
portions. 

SETTING  SUN. 

Use  Yellow  Ochre  and  Pink  Madder,  or  Venetian 
Red  and  Yellow  Ochre ;  sometimes  Vermillion  and 
Gamboge  or  Indian  Yellow  in  small  proportions, 
when  a  strong  effect  is  to  be  given. 

Trees. — In  painting  trees  use  Indigo,  Burnt 
Sienna  and  Gamboge.  These  colors  will  make  tints 
for  the  light;  Indigo  mixed  with  Vandyke  Brown 
becomes  a  fine  deep  grey,  of  a  green  hue.  Purple 
Lake  may  be  added  when  you  want  the  tint  more 
neutral. 

FOREGROUND. 

Green  in  foreground  is  made  by  mixing  Sepia  with 
Olive  Green  in  the  shade,  and  Olive  Green  and 
Burnt  Sienna  in  the  lighter  parts.  A  light  transparent 
yellow,  raw  Sienna  or  Italian  Pink  may  be  carried 


PICTORIAL  ART. 


in 


over  the  foreground  where  herbage  is  to  be  repre  • 
sented,  when  a  bright,  sunny  effect  is  desirable  to 
give  fullness  and  richness  to  the  colors  that  come 
afterward ;  it  also  answers  for  high  lights  upon 
leaves,  and  the  brilliant  specks  which  are  left  sharp. 
Indigo,  Indian  Red  and  Ochre  for  the  ashy  giey  of 
loam  ;  Burnt  Umber  alone,  or  mixed  with  Burnt 
Sienna,  pure  Ochre,  and  Ochre  mixed  with  Sepia 
alone,  and  mixed  with  Purple  Lake  for  dark  parts: 
also,  Vandyke  Brown  and  Purple  Lake,  or  pure 
Brown  Madder  for  very  dark  touches. 

Indigo,  mixed  with  Gamboge,  makes  a  cold 
green  well  suited  to  dark  leaves  ;  Purple  Lake  may 
be  added  for  cool  reflected  lights  ;  Indian  Red 
mixed  with  Indigo  to  a  pale  tint  for  willow  leaves 
or  foliage  stained  with  dirt,  or  for  the  giey  back 
of  a  leaf. 

These  cold  greys  and  greens  are  of  great  value  in 
foregrounds  to  repeat  the  cool  greys  and  cold  lights 
of  the  sky  in  pictures  composed  of  much  warm 
color  in  the  middle  distance,  as  mid-day  effects, 
sunsets,  etc  The  foreground  should  show  a  great 
deal  of  relief;  distinctness  and  accuracy  in  the 
drawing  of  these  small  objects  which  are 
particularly  marked,  but  are  merged  into  mass- 
es when  further  removed.  With  regard  to 
toads  in  your  painting,  Yellow  Ochre,  mixed  with 
Burnt  Sienna,  and  lowered  with  Ind'an  Red  and 
Indigo.  Indigo  and  Brown  Madder  being  trans- 
parent colors,  will  allow  a  wash  of  Cobalt  Blue  and 


(8.) 


114 


THE  SECRET  OF 


Pink  Madder  to  alter' the  hue,  without  danger  of 
opacity. 

WATER. 

The  same  as  for  clouds,  blended  with  the  local 
color  of  the  water  (greenish)  and  with  the  reflected 
objects.  Dark  Sea  is  indicated  by  combining  In- 
digo, Vandyke  Brown  and  Lake.  Dark  Sky — 
Indigo,  mixed  with  Pink  Madder  and  Gam- 
boge In  Brick  Work— Mix  Ochre  with  French 
Blue  and  Indian  red,  Indigo  and  Venetian  Red, 
Ochre  and  Pink  Madder  for  bright  part  of  brick 
work.  When  the  color  is  more  of  red,  Vermilion 
may  be  used,  with  caution,  and  in  small  quantities 
for  lights.  For  shades,  mix  Sepia  and  Purple  Lake, 
or  Sepia  and  Indian  Red  ;  Sepia  alone  is  used  for 
light  shadows  from  trees. 

We  will  now  paint  a  landscape,  the  foreground 
composed  of  rocks  lying  near  and  dividing  a  stream 
of  water  from  a  road ;  the  margin  of  the  river 
skirted  by  trees,  beyond  a  range  of  hills,  and  still 
beyond  another  range  of  mountains  with  high 
points  extending  above  all  else  ;  cattle  standing  at 
the  foot ;  flock  of  sheep  coming  along  the  road, 
cottage,  etc. 

DIRECTION. 

Cover  the  entire  surface  of  your  board  with  a  tint 
of  Yellow  Ochre  of  moderate  strength  ;  when  this 
is  dry  a  tint  is  formed  from  the  mixture  of  Cobalt 
Blue  and  Pink  Madder,  the  blue  predominating ; 
use  it  in  a  very  diluted  state,  on  the  side  whence 
the  sun  is  supposed  to  shine,  graduating  the  tint  a§ 


PICTORIAL  ART. 


115 


the  opposite  part  of  the  sky  is  approached,  so  that 
the  ether  may  appear  of  a  clear  arid  rather  strong 
color  ;  the  lights  of  the  cloud  to  be  left,  and  care 
to  be  taken  to  diminish  the  strength  of  the  tint  in 
the  lower  part  of  the  sky.  The  same  tint  may  be 
carried  over  the  mountains,  leaving  small,  brilliant 
lights  if  there  be  any. 

A  wash  of  Pink  Madder  and  Ochre,  or  Venetian 
Red  Ochre  may  be  given  to  the  lights  on  the  clouds, 
afterwards  they  may  receive  their  middle  tint,  com- 
posed of  Pink  Madder,  Yellow  Ochre  and  Cobalt 
Blue. 

The  Clouds  may  be  finished  by  shading  with 
Cobalt  Blue  and  Venetian  red  ;  the  watev  should 
receive  its  tints  at  this  time  ;  any  very  bright  lights 
should  be  left.  Clouds  that  are  darker  than  the 
ether,  lay  on  with  Venetian  Red  and  Ochre.  If  the 
clouds  are  meant  to  show  lighter  than  the  blue  of 
the  sky,  they  should  be  left.  Mix  in  one  dish 
Ochre  and  Pink  Madder  with  more  strength  than, 
the  sky  tints  ;  and  in  another  Cobalt,  Pink  Madder 
and  Gamboge  with  as  much  strength  as  possible  so 
that  it  will  work  freely.  Having  the  brush  charged 
with  the  first  paint,  proceed  to  lay  in  the  light  parts 
of  the  mountain,  varying  the  color  by  the  addition 
of  Cobalt  Blue  where  a  greenish  hue  is  wanted, 
Pink  Madder  where  the  granite  prevails.  Now, 
with  a  brush  rilled  from  the  other  saucer,  lay  in  the 
shady  parts,  varying  the  colors  These  opposite 
tints  of  light  and  shade  should  be  made  to  blend 
imperceptably   where    they   meet.     Indigo,  Pink 


n6 


THE  SECRET  OF 


Madder  and  Gamboge,  mixed,  will  be  found  useful 
for  dark  touches  in  shadows,  and  Cobalt  mixed  with 
Indian  Red,  may  be  used  for  the  same  purpose  in 
the  lights. 

For  the  Hills,  mix  Indigo  and  Yellow  Ochre  so 
as  to  make  a  light  green  ;  lay  in  the  light  parts 
with  this,  adding  Ochre  when  a  brighter  and  warm- 
er light  is  to  be  expressed,  and  Pink  Madder  when 
the  surface  is  broken  by  rock.  Any  bright  pro- 
jecting rocks  may  receive  a  touch  of  Yellow  Ochre 
and  Indian  Red,  mixed.  A  few  broad  touches  will  • 
bring  this  sufficiently  forward ;  they  may  be  given 
with  a  brown,  produced  by  the  mixture  of  Indigo, 
Purple  Lake  and  Gamboge,  inclining  to  orange  or 
Purple.  The  trees,  skirting  the  stream,  should  be 
covered  at  the  same  time  with  the  first  and  lightest 
tint,  varied  in  the  same  way  and  brought  into  the 
water,  leaving  a  sharp  strip  of  light  at  the  edge  for 
a  bank  or  path.  Any  very  light  stems  of  trees 
should  be  left.  When  this  has  become  quite  dry 
lay  in  the  trees  with  Gamboge.  Burnt  Sienna  and  In- 
digo, mixed,  for  the  light ;  Purple  Lake,  mixed  with 
Indigo  and  Gamboge,  for  stems ;  stronger  and 
browner  for  dark  touches.  The  rocky  masses  lying 
in  the  water  near  the  promontory  may  be  cov- 
ered by  a  tint  of  Indigo  and  Brown  Madder,  mixed  ; 
a  little  Olive  Green  will  vary  the  tint,  if  a  greenish 
hue  is  wanted.  Gamboge,  mixed  with  Indigo  to  a 
light  green,  and  varied  with  Purple  Lake  and  In- 
digo, J  will  serve  for  the  parts  of  the  rising  ground 
seen  through  the  branches  of  the  trees,  which  may 


PICTORIAL  ART. 


II? 


receive  a  tint  of  Indigo  mixed  with  Burnt  Sienna 
and  Olive  Green.  The  foreground  may  be  laid  in 
with  Indian  Red,  mixed  with  Yellow  Ochre,  and 
broken  by  Sepia  or  Indigo  ;  shadows  across  the 
road  may  be  rendered  by  washes  of  Indigo  mixed 
with  Brown  Madder,  and  lampblack  mixed  with 
Purple  Lake  for  cool  slate-cblored  rocks  in  shade. 

Birch  trees  should  be  covered  with  a  tint  of  Indian 
yellow  and  burnt  sienna,  and  shaded  with  brown 
madder  and  indigo  mixed,  or  sepia  and  purple  lake. 
Bring  out  the  stems  by  dark  touches  of  Vandyke 
brown  mixed  with  purple  lake,  in  shade.  The  dark 
greens  about  the  foreground  should  be  composed  of 
sepia  and  Indian  yellow.  The  figures  in  the  land- 
scape may  have  some  red  in  the  drapery ;  the  sheep, 
a  little  yellow  ochre.  In  mixing  the  colors  always 
incline  towards  warmth,  because  a  little  more  cool- 
ness and  atmosphere  may  be  given  by  a  wash  of 
cobalt  blue,  mixed  with  pink  madder  or  Indian  red. 
Reflections  in  water  should  be  painted  similar  in 
hue  to  the  objects,  but  lower  in  tone,  and  more 
transparent.  Large  stems  of  trees  may  be  colored 
effectively  by  applying  varied  greys,  browns,  (made 
by  a  mixture  of  Indian  red,  French  blue  and  ochre), 
for  light  sides,  leaving  any  very  bright  features 
shown  in  the  bark.  Brown  madder  and  brown 
pink,  and  sometimes  Vandyke  brown  mixed  with 
Indian  lake,  will  be  found  of  service  for  markings. 
When  laying  on  the  blue  in  the  sky,  be  careful  to 
leave  the  shape  of  the  light  part  of  the  clouds,  then 
with  anothei  brush,  wash  in  the  middle  tint,  and 


The  secret  of 


suffer  it  to  blend  with  the  blue  on  the  shady  side 
of  the  cloud.  Add  a  little  Venetian  red,  as  the  tint 
is  carried  down  to  the  horizon  ;  mix  more  cobalt  for 
distance.  Give  a  first  color  to  the  road  and  cottage; 
pure  yellow  ochre  for  the  light  of  the  plaster,  with 
white  paper  left,  and  with  very  small  portions  ;  the 
shade,  sepia  or  brown  madder,  mixed  with  indigo ; 
the  hedge  by  the  cottage,  brown  pink,  olive  green, 
mixed  with  burnt  sienna. 

When  the  drazving  is  dry,  begin  with  the  sky, 
and  heighten  or  subdue  as  seems  best;  give  the 
shade  to  the  clouds,  taking  care  that  the  indica- 
tions of  shadow,  and  feature  generally,  grow  light- 
er the  nearer  they  come  to  the  horizon  ;  the  country 
is  distinguished  from  the  sky  by  outline — a  dark 
touch  of  blue  in  the  shadows,  from  the  clouds. 
Dark  touches  on  the  roof,  chimneys  and  windows 
of  the  cottage,  will  give  it  relief  from  the  sky,  and 
give  distance  to  the  small  objects  ;  they  may  be 
made  with  Vandyke  brown,  mixed  with  purple  lake. 
Brown  pink,  mixed  with  purple  lake,  gives  a  very 
dark  transparency  to  water. 

For  Moonlight  Scenes,  wash  in  the  general  effect 
of  sky  with  Burnt  Umber,  mixed  with  Cobalt  Blue 
and  Pink  Madder,  and  Cobalt  Blue  for  dark  clouds 
and  distances  ;  Indigo,  mixed  with  Vandyke  Brown 
and  Pink  Madder,  for  the  general  landscape.  The 
learner,  before  commencing  at  once  upon  a  land- 
scape, will  do  well  to  practice  upon  blending  colors  ; 
commencing  with  Cobalt  Blue  and  Pink  Madder, 
you  will  produce  a  purple  ;  add  Gamboge,  the  pur- 


PICTORIAL  ART. 


11$ 


pie  will  be  grey,  etc.  In  the  combination  of  the 
following  colors,  a  great  variety  of  tones  adapted  to 
skies  and  distance  may  be  found  ;  Sepia  and  Gam- 
boge, Sepia  and  Indian  Yellow,  Sepia  and  Italian 
Pink,  Lampblack  and  Indian  Yellow.  Chinese  White 
is  of  service  when  tinted  paper  is  used  for  sketches. 
In  selecting  the  paper  it  should  be  as  natural  as 
possible,  either  cool  or  warm  in  hue  according  to 
the  effect  intended.  The  tint  may  serve  as  middle 
tint  in  light  of  buildings,  stems  of  trees,  banks, 
etc.  Cold  pressed  imperial  paper  is  the  best  for 
landscape. 

The  colors  used  are — Indigo,  French  Blue,  Co- 
balt Blue,  Purple  Lake,  Indian  Red,  Indian  Lake, 
Pink  Madder,  Indian  Yellow,  Gamboge,  Yellow 
Ochre,  Vandyke  Brown,  Brown  Madder,  Sepia, 
Burnt  Sienna,  Venetian  Red,  Olive  Green,  Brown 
Pink,  Vermillion.  Sable  brushes  are  best  suited 
for  water  colors  ;  two  large  sizes  and  a  half  dozen 
smaller  ones  is  all  that  will  be  required. 


t20 


The  secret  of 


COMPLETE    T_i  I  S  T 

— OF — 

ARTISTS' 

Painting  Materials. 

M  GIVE  below  a  list  of  materials  used  in  the  va- 
7*-  rious  styles  of  painting  and  drawing.  The 
paints  printed  in  italics  are  transparent. 

ENGLISH  AND  FRENCH  OILS,  VARNISHES,  MEDIUMS, 
SICCATIFS,  ETC. 

Picture  Mastic,  Mastic  Varnish,  Copal  Varnish, 
White  Sp.  Varnish,  Spirits  Turpentine,  'Retouch 
Varnish,  French  Poppy  Oil,  Nut  Oil,  Pale  Drying 
Oil,  Dark  Di ying  Oil,  Siccatif  de  Harlem,  Siccatif 
Coin  tray,    ic  cents  to  65  each. 

OIL  colors — In  patent  collapsible  tubes. 
Antwerp  BJue,  Asphaltum,  Bitumen,  Blue  Black, 
Bone  Brown,  Brilliant  Yellow,  Brown  Ochre, 
Brozvn  Pink  Bt.  Roman  Ochre,  Burnt  Sienna, 
Burnt  Umber,  Cappah  Brown,  Caledonian  Brown, 
Cassel  Earth.  Chrome  Yellow,  Deep  Orange, 
Red  and  Green,  Cologne  Earth,  Copal  Megilph, 
Cremnitz  Wh'te,  Crimson  Lake,  Emerald  Green, 
Flake  White,  Ga?nbcge,  Indian  Lake,  Indian  Red, 


PICTORIAL  ART. 


121 


Indigo,  Italian  Ochre,  Italian  Pink,  Ivory  Black, 
King's  Yellow,  Lamp  Black,  Light  Red,  Megilph, 
Naples  Yellow,  Olive  Lake,  Orpiment,  Permanent 
Blue,  Permanent  White,  Prussian  Blue,  Putple 
Lake,  Prussian  Brown,  Paw  Sienna,  Raw  Umber, 
Roman  Ochre,  Scarlet  Lake,  Silver  White.  Sugar 
of  Lead,  Terre  Verte,  Trans  Golden  Ochre,  Van- 
dyke Brown,  Venetian  Red,  Verona  Brown,  Yellow 
Lake,  Yellow  Ochre,  Zinc  White.  Each  10  cents 
per  tube. 

American  extra  colors — In  two-inch  tubes. 
(20  to  30  cents  each.) 

English,  French,  Orange  and  Chinese  Vermilion, 
Cerulean  Blue,  Zinnober  Green,  light  ;  Zinnober 
Green,  medium  ;  Zinnober  Green,  deep ;  Brown 
Madder,  Cobalt  Blue,  French  Ultramarine,  Indian 
Yellow,  Madder  Lake,  Lemon  Yellow,  Pink  Mad- 
der, Rose  Madder,  Carmine,  Mars  Yellow,  Emerald 
Green,  Burnt  Carmine,  Cadmium  Yellow  and 
Orange,  Purple  Madder,  Yellow  Madder. 

English  extra  colors— In  two-inch  tubes. 
(30  to  50  cents  each.) 

English  Vermilion,  French  Vermilion,  Chinese 
Vermilion,  Bt.  Lake,  Cerulean  Blue,  Brown  Mad- 
der,  Cdbalt  Blue,  French  Ultramarine,  Indian  Yel- 
low, Lemon  Yellow,  Madder  Lake,  Orange  Ver- 
milion, Pink  Madder,  Rose  Madder,  Scarlet 
Vermilion,  Carmine^  Madder  Car??iine,  Violet  Car- 
mine, Purple  Madder,  Mars  Orange,  Cadmium 


122 


THE  SECRET  OF 


Yellow — light,  Deep  arid  Orange  ;  Aurelian,  Ul- 
tramarine Ash. 

GERMAN  OIL  COLORS. 

(10  cents  each.) 
Brilliant  Yellow,  Light ;  Brilliant  Yellow,  deep  ; 
Cap.  Mortium,  Light ;  Flesh  Ochre,  Naples  Yel- 
low, light,  deep,  reddish  ;  Vermilion  Green — 
light,  dark;  Cadmium  No.  i,  Lemon;  Cadmium, 
No.  2,  light  ;  and  No.  4,  deep. 

ENGLISH  WATER  colors— In  whole  and  half  pans 
and  cakes. 
(20  to  35  cents  each.) 

Antwerp  Blue,  Bistre,  Blue  Black,  Brown  Ochre, 
Brown  Pink,  Burnt  Roman  Ochre,  Burnt  Sienna, 
Burnt  Umber,  Chrome  Yellow — deep  and  orange  ; 
Dragon's  Blood,  Emerald  Green,  Gamboge,  Hook- 
er's Green,  Indian  Red,  Indigo,  Italian  Pink,  Ivory 
Black,  King's  Yellow,  Lamp  Black,  Light  Red, 
Naples  Yellow,  Neutral  Tint,  Olive  Green,  Payne's 
Grey,  Prussian  Blue,  Prussian  Green,  Raw  Sienna> 
Raw  Lmber,  Red  Lead,  Roman  Ochre,  Sap  Green, 
Terra  Vertz,  Vandyke  Brown,  Venetian  Red,  Ver- 
milion, Yellow  Lake,  Yellow  Ochre. 

(65  and  35  cents  each.) 

Brown  Madder,  Crimson  Lake,  Indian  Yellow, 
Mars  Yellow,  Neutral  Orange,  Purple  Lake,  Roman 
Sepia,  Ruben's  Madder,  Scarlet  Lake,  Scarlet  Ver- 
milion, Sepia,  Warm  Sepia. 

(75  and  40  cents  each.) 

Cobalt  Blue,  Orange  Vermilion,  Violet  Carmine. 


PICTORIAL  ART. 


123 


($1.30  and  70  cents  each.) 
Aureolin,  Bt.  Carmine,  Cadmium,  Yellow,  Cad- 
mium, Orange,  Carmine,  French  Blue,  Galls  tone . 
Intense  Blue,  Oxide  of  Chrome,  Lemon  Yellow, 
Pink  Madder,  Rose  Madder,  Pure  Scarlet. 

($1.85  to  $1.00  each.) 
Madder  Carmine,  Mars  (  range,  Genuine  Ultra- 
marine, ($2.50.)  Purple  Madder,  Smalt,  Ultrama- 
rine Ash. 

Lnglish  Water  Color  Mediums. 


Chinese  White  in  bottles  ....   45c 

Liquid  Carmine,  each   ,  50c 

Sepia,         M     ,  50c 

"       India  Ink    "   45c 

"       Gold  "   50c 

"       Silver         "   .......  .40c 

"       Oxgall        "   45c 

Water  Color  Megil   .  90c 

Soehne's  Varnish  50c 

Gold  Cus,  each  , ;  25c 

Bessemers'  Gold  Paint  75c 

India  Ink  Sticks. 

Chinese  Large,  per  stick  $2,00 

"       Super  Super   2#oO 

"       Elephant   i.tq 

India,  small  arch  top  gilt  50c 

"      Oval  Lion  Head  75c 

4<      Small  Round  Head  40c 

M      Ordinary  Square  ,15c 


Oil  Color  Brushes. 
Artists'  Bristle,   Red   Sable,   Landseer  Bristle, 


i24  THE  SECRET  OF  PICTORIAL  A&T. 


Fitch  Hair,  Bristle  Fan,  Bright's  Bristle,  Sable 
Fan,  Badger  Blenders. 

Water  Color  Brushes. 

Camel  Hair  Pencils,  Camel  Hair  Brushes,  Camel 
Hair  Sky  Brushes,  Red  Sable  Hair  Pencils,  Brown 
Sable  Hair  Pencils. 

Drawing  Papers — German,  Extra  Water  Color, 
Crayon  Paper  in  various  tints,  Tinted  Crayon 
Board,  English  Bristol  Board,  Roll  Drawing  Paper, 
Sagar's  Patent  Tracing  Cloth,  Tracing  Paper, 
Sketch  Books,  Blank  Drawing  Books,  Solid  Blocks. 
Miscellaneous. 

Artist's  Pencils  with  movable  leads,  Drawing 
Boards,  India  Rubber  and  Eracers,  Thumb  Tacks, 
Materials  for  Crayon  and  Pastel  Drawing. 

Soft  Pastels,  Hard  Pastels,  Colored  Pastels  in 
Wood,  Crayon  Holders,  Prepared  Paper  for  Pas- 
tels, Monochromatic  Boards,  Academy  Sketching 
Boards,  Dividers  Slants,  Oil  Sketching  Paper, 
(smooth  and  rough  surface,)  Canvas  in  Rolls, 
Wooden  Palettes,  Steel  Palette  Knives,  Tin  Palette 
Cups,  Rests  or  Mahlsticks,  Artist's  Easels,  &c, 

N.  B. — Any  information  concerning  Designs  for 
Painting,  or  Materials,  wilj  be  cheerfully  furnished 
by  addressing  the  publisher,  D.  D.  Morse,  Chi- 
cago, 111. 


O'BRIEN'S 

FREE  ART  GALLERY 

208  Wabash  Avenue, 

—CHICAGO. — 

WE  KEEP  A  FULL  ASSORTMENT  OF 


SUCH  AS  IS  REQUIRED  FOR 


PAINTING  AND  DRAWING, 

And  Proper  Execution  of  all  the  Arts  de- 
scribed in  this  Book.    See  u  Artists' 
Materials,  Etc."  page  120. 

Send  for  our  new  Catalogue  and  Price  List. 

A  LIBERAL   DISCOUNT  TO  TEACHERS  AVD 
SCHOOLS. 

We  keep  the  OP  AQ  UE  MIXTURE,  t'  painting  in 
oil  colors  on  Silk  and  Satin,  which  keens  the  oil 
from  spreading  too  freely  and  running 
into  the  material. 

ALSO,  A  LARGE  STOCI*  OF 

Address, 

ART  DEALER, 

CHIC  A  CO,  ILL. 


CHIRAJPMriTING- 

— AT  THE — 

WESTERN  DECORATING  WORKS 

Can  be  found  the  most  complete  line  of 
the  best  English  and  German 

ENAMEL  COLORS, 

(in  powder), 
As  well  as  l',ACROIX'S  Celebrated 

CHINA  COLORS,  (in  tubes), 

OILS,  and  all  other  Requisite  Materials  for 
the  Decoration  of  CHINA,  PO  T- 
TERY,  TILES,  ETC. 

A  full  variety  of  White  and  Colored  GLAZED 
ENGLISH  TILES,  of  all  sizes,  DRESDEN 
PORCELAIN  PLATES  &  SLABS, 

for  Landscape  and  Figure  * 
Painting. 

All  Colors  sold  have  been  practically  tested  at  our 
Works. 

MINERAL  DECALCOMANIE. 

A  large  variety  of  beautiful  designs  of  the  above 
have  been  added  to  our  stock. 

FIRING  AND  OILDINti. 

This  department  receives  our  PERSONAL  attention. 
The  greatest  care  is  exercised  in  firing  China  properly. 
All  China  entrusted  to  our  care  receives  that  Superior 
Burning  which  has  given  us  a  reputation  second  to 
none  in  this  country. 

All  Orders  Filli  d  with  Promptness. 
China  Decorating  of  Every  Description  Done  in  an 
Artistic  Manner.    Names,  Initials  and  Mon- 
ograms to  Order. 
Price  List  of  Colors,  Firing,  Etc.,  sent  on  application. 


Propr  ietors 

"VV^STEiFtisr  J  )ecorating  "W'omsis, 

106  Randolph  St„  CHICAGO. 


PAOB 

Title  Page   i 

Prefatory   3 

To  the  Public   4 

Colors  in  Nature....,   5 

Crystalline,  or  Sun-Pictures   6 

Pen  and  Pencil  Drawing   8 

Pentagraph   10 

Another  Process  of  Copying   11 

Oil-Photo  Miniature   12 

Crystal  Painting   18 

Antique  Painting  ,   20 

Grecian  Oil  Painting   23 

Oriental  Painting   25 

Staining  Wood  and  Ivory   28 

Embossed  Pictures   2q 

Diaphanie  Pictures   30 

Decalcomanies   31 

Copying  Ink   33 

Painting  on  Silk  and  Satin   34 

Detection  of  Counterfeit  Money   36 

The  Seven  Wonders   40 

Mineral  Decalcomanie   42 

To  Produce  a  Crystalline  Sur-  ) 

face  on  Wood,  Paper  or  Glass.  )  49 

Preserving  Natural  Flowers   So 

China  Painting   52 

Mixing  of  Colors  for  China  , . . .  57 

Applying  the  Colors. ,   70 

Painting  the  Heads  in  Colors   76 

Style  of  Designs   80 

Lacroix's  Enamel  Colors   86 

Wax  Flowers   94 

Pastel  Portrait  Painting   q8 

Italian  Landscape  105 

Painting  in  Waters  Colors  111 

Artists'  Materials  «  120 


